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Showcard Writing System 

COMPLETE IN THIRTY-FOUR LESSONS 



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FORMERLY "THE HABERDASHER" 



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PUBLISHED BY 






BERT L. DAILY 






DAYTON, OHIO 






Copyright 1921, by Bert L. Daily 




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Tf?ADE MARK 



BRU5HE5 and SUPPLIES 




This is My 
Guarantee 

If, for any reason, any 
"Perfect Stroke" Brush 
or supply is not satisfact- 
ory, return it at once 
and I -will make ex- 
change or refund your 
money. 

Bert L. Daily 



All Year 'Round 

SERVICE 

Daily's Bruskes are reliable from Jan- 
uary 1 to December 31 — all quality, all tke 
time. Tke more you use tkem, tke better 
you will like tkem. 

Tkere's no otker brusk like tke "Perfect 
Stroke" because no otker brusk eliminates 
tke tedious going-over process — a time- 
killer and a profit-loser. It's tke brusk 
witk tke scientific construction, tke per- 
fect balance. Never skeds a kair. 

A copy of our Catalog No. 8 skould be 
in tke kands of every card writer and dis- 
play man. If you are not supplied, write 
us today. 

For Best Service 365 Days in the 

Year Use "Perfect Stroke" 

Brushes and Supplies 

Bert L. Daily 

126-130 E. Third Street Entire Fourth Floor 

DAYTON, OHIO 



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Introductory 



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THIS book contains a course in Showcard Writing, complete 
in thirty-four lessons and covers every phase of instruc- 
tion essential in the art of producing attractive and busi- 
ness-pulling showcards. The lessons are fully illustrated, and 
the technical instruction is presented in such a simple and inter- 
esting manner as to be easily understood even by the novice. 
Equipped with this book and a card-writing outfit, a merchant 
or displaj 7 man may make his own showcards with little trouble 
and a great amount of satisfaction. 



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The series of lessons was written by Messrs. A. E. Hurst 
and C. J. Nowak of the Economist Training School, both of 
whom are authorities on showcard writing instruction. All of 
the best alphabets adapted for card writing are herein repro- 
duced and described. Specimens of both Hunt and Pay- 
zant pen-work, hand-brush work and air-brush effects are illus- 
trated on accompanying cards. There is also some valuable ad- 
vice as to mixing colors and what contrasts and combinations 
appear best in showcard work. 



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To receive full benefit from the course, the lessons should 
be studied in consecutive order and each lesson practiced thor- 
oughly before passing to the next; then after having decided 
what type of cards you wish to prepare, study carefully the par- 
ticular lessons covering this type. 



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Index to Lessons 



Work-table and Equipment — Les 

Using the Hunt No. 400 Pen 

Using the Payzant Pen 

Introducing the Roman-spurred Alphabet 

Single Stroke Brush Work 

Roman Alphabet Made With Music Pen 

New Ideas in Showcard Stenciling... 

Using Trade Journal Illustrations - 

Initial Panels for Embellishing Cards '. 

Double Stroke Egyptian Alphabet 

How to Use the Air-brush 

Mammoth Pen Alphabet 

Using Clipped Illustrations as Panels — 

Special Designs for Christmas Work 

Illustrating the Use of the Air-brush 

Masks for Showcards Layouts 

Advertising and Showcards 

Unusual Decorative Effects 

Plain Card vs. the Illustrated 

Fancy Papers for Showcard Purposes 

The Value of Stencils — — 

Best Colors for Card Writing Work 

Using Newspaper Illustrations.— — 

Alphabet Made With the Xew Speed Ball Pen 

Dark Cards for Light Lettering — 

An Excellent Air-brush Alphabet 

Seasonable Ideas for Thanksgiving.. 

Christmas Card Suggestions 

January Sale Showcards 

Xew Litho-art Air-brush Background.... 

Making the Card Artistic 

How to Produce Flowered Effects — 

When to Use Upper or Lower Case 

Fancy Initials for Showcards ~ 

Colors and How to Mix Them 



5son 1 


Page 


3 


2 




6 


3 




8 


4 




10 


5 




13 







16 


7 




19 


8 




21 


9 




23 


10 




26 


11 




28 


12 




30 


13 




32 


14 




34 


15 




36 
38 


10 




39 


17 




41 


18 




43 


1 9 




45 


20 




47 


21 




49 


22 




51 


23 




53 


24 




55 


25 




57 


26 




59 


27 




61 


2S 




63 


29 




65 


30 




67 


31 




70 


32 




72 


33 




75 


34 




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Fig. 1 — A Table Exactly Suited to the Card Writer's Needs 



LESSON N0 1 



NECESSARY, POSITION 



S DESCRIBING THE 
OF HANDS - 



r OEK TABLE, EQUIPMENT 



THIS is the first of a series of showcard writing 
articles prepared especially for the beginner. 
They are designed to increase the efficiency of the 
storeworker, salesman, display manager or merchant who 
is desirous to do something more than the ordinary store 
routine, and thereby materially increase his value as a 
factor in the shop. To those who are ambitious, this 
series of practical demonstrations offers a wealth of 
knowledge of value in securing better merchandising re- 
sults, especially through the show window. The man 
who can do something aside from his regular duties that 
will show results in merchandise displays and selling can 
always demand a better salary. 

It is an acknowledged fact that the man who can make 
clever, practical and legible showcards has a decided ad- 
vantage over the salesman who can do nothing more than 
sell goods over the counter. This series of articles offers 
opportunities for the man who is in a rut, as well as those 
who are ambitious to learn more. 

The successful retail men of today are the men who 
have branched out beyond their immediate surroundings 
and have accumulated knowledge, which carries with it 
power. 

As an introductory remark, we state that Daily's 
Showcard Writing System is the result of years of ex- 
perience along the lines of studying, originating, de- 
signing and planning showcards that do everything that 
a good showcard is alleged to do — give good merchandise 
the proper atmosphere — tell a selling story and stimu- 
late interest in the store. 

Careful consideration will be given throughout the 



entire series, in order that suggestions will be practical 
and of special use to the haberdashery shop. Showcards 
for this purpose require an entirely different treatment 
than cards used by the ordinary stores, such as depart- 
ment, general, hardware, drug, etc. For this reason it is 
often difficult to secure just the card desired from pro- 
fessional sign or showcard writers, as they do not under- 
stand the fundamental principles necessary in making 
the high-class card, suitable to be used in combination 
with a showing of high-grade merchandise. 

In order to become proficient in card writing it is most 
essential to get started on the right track. After this, 
success will be accomplished through practise and close 
attention to the instruction. It is a mistaken impression 
that the art requires inborn talent, as experience has 
proven that, like penmanship, one perfects by practise. 

If you will devote from fifteen to forty-five minutes a 
day to practising the outlines which we will arrange, you 
will soon be able to design and originate clever show- 
cards. 

It will be the object of our suggestions to enable the 
student not only to paint attractive cards but to execute 
the work rapidly. Speed will be one of the qualifica- 
tions we expect our interested readers to master. In this 
introductory lesson we take up the subject of the outfit 
and the workroom. We advise only tools and materials 
that are absolutely necessary in arranging and practising 
your work. 

The first thing to consider is a place to do the work. A 
good supply of natural light is much better than elec- 
tricity or gas, both for the eyes and for good judgment 

3 



DAILY'S SHOWCARD WRITING SYSTEM 



in laying out the card. If natural light cannot be secured, 
artificial light, placed directly over the table and above 
your work so as not to cast any shadows, should be 
arranged for. 

The Work Table 

Pictured in Figure 1 is a good card writer's table. 
This can be reversed to suit local conditions and require- 
ments. If you do not care to go to the expense of build- 
ing this work bench, study it carefully, as there are a 
number if ideas that can be applied to practically any 
work table or counter. A table of this kind can be built 
from ordinary box lumber, but best results can be had 
by building it of composition board. As this board is 
inexpensive the entire cost of the table will not be large, 
and as it is a permanent fixture it will be well to expend 
a little money in having it well designed. 

The length will vary according to the space you have 
at your disposal. A table from eight to ten feet long and 
about thirty-six inches wide will answer every require- 
ment. The center portion is designed for the card-writ- 
ing desk, and should be about twenty-four inches in width 
and about thirty-six inches in length. The height of the 
central portion at the extreme should be ten inches, and 
the lower portion about one and one-half inches. This 
angle will answer for general showcard work. This may 
be governed, however, according to the individual's re- 
quirements. In some cases you may like a greater degree 
of slant. This may be adjusted accordingly. 




Fig. 2 



How to Hold the Brush 



By embedding two yard-sticks on both the lower and 
left-hand sides of this top you will eliminate a great deal 
of time in measuring. Make <he top removable, so it may 
be placed at any position on the desk. The center part, 
between the bins, of course, would be the logical place 
in practise work ; but the work may be made easier for 
you by placing this top on a slight slant. This arrange- 
ment allows the other side o* the table for laying your 
finished cards to dry. 

At the back we show a platform on which to place 
brushes, inks, scissors and other accessories. On the left- 
hand side are bins and a drawer for cardboard and cards 
to be used again. On the right-hand side we show a 
waste-paper bin, and also another drawer which may be 
used for keeping supplies or finished cards. 

To make good cards it is necessary to have good ma- 



terials and tools to work with. Many beginners are 
under the false impression that camel's hair brushes will 
answer the purpose at the start ; and when they are able 
to make a fair card it is time to invest in a good set of 
brushes. This is a great mistake and the cause of many 
failures in this line of work. To be successful a complete 
set of good brushes should be had at the start, as it is 
impossible to do good work with poor tools. 

If you will follow explicitly the suggestions we will 
give you in this series of articles you will not go astray, 
as they are given by men with years of actual retail store 
card writing experience. The better brushes are made 
from red sable hair, costing from 20 cents to $1 each. 
Sizes, 5, 8, 10 and 12 will answer for all ordinary 
card writing purposes. A great deal depends on the 
brushes, and care must be used in selecting them. See 
that the hairs are uniform, even at the ends when the 
brush is flattened. The handle should be cut off so that 
it will not be longer than six inches. 

After using your brushes, rinse thoroughly in water 
and lay them carefully away to dry. Allow no one else 
to use your brushes, as every card writer trains his 
brushes to his own way, and a stranger is very apt to 
spoil them. 

Figures 2 and 3 show the position for holding the 
brush in practising and regular card work. You will 
notice that the brush is held away from the shoulder. 
The flat part of the brush is held on an angle of about 
forty-five degrees, so that a thin line can always be made 
on the left and a heavy line on the right of the letter. 

By studying the illustration carefully you will readily 
grasp the position of the hand, as well as the position 
of the brush. In practice work, strokes that range from 
one to one and one-half inches should be made with the 
combination finger and arm movement ; but longer 
strokes will require arm movement. For ordinary 
work there will be very few strokes longer than one and 
one-half inches. Do not grasp the brush too firmly, but 
let it rest lightly between the fingers, as per the illus- 
tration. 

The Hunt No. 400 Pen 

Without question the most important tool that the 
showcard writer has to work with for showcard work is 
the Hunt No. 400 pen. This is really a stub pen, and 
comes in many sizes. The holder is double-pointed, and 
the ink retainer is permanently attached to the holder. 
You will readily understand the construction of these 
pens from Figures 4 and 5. 

The direction for holding this pen in showcard work is 
practically the same as the flat brush. We will give 
detailed instruction on the use of these pens in a future 
lesson entitled "Pen Work." For this reason -you should 
reserve this lesson plate in order to refer to it. 

The Payzant Pen 

Another pen which we recommend for showcard work 
is what is known as the Payzant pen. This comes in six 
different sizes, and differs from any other pen in the fact 



DAILY'S SHOWCARD WRITING SYSTEM 







Fig. 4 Fig. 5 

How to Hold the Hunt Pen 



Fig. 6 Fig. 7 

How to Hold the Payzant Pen 



that the marking point is so constructed as to produce 
the same gage line, no matter in what direction the pen is 
moved over the cardboard. Illustrations 6 and 7 show 
the position of the hand in holding this pen, which is 
practically the same as the Hunt pen and the Red Sable 
rigger brush. Hints on the care and use of the Payzant 
pen will also be given in future lessons. 

Other Accessories 

Aside from the three tools we have mentioned you 
will need a "T" square and a ruler. The "T" square 
should be about twenty-two inches in length so that 
you can rule with it, and also be used for spacing and 
making a full size of the cardboard (twenty-two by 
twenty-eight inches). It is advisable to mark inches 
on the "T" square so as to enable you to more readily 
find the center of the card. 

By fastening two blocks of wood or two corks on one 
side of the ruler, you can use this for ruling with the 
brush or pen, as this will hold the ruler above the card- 
board and eliminate the possibilities of blurring your 
lines. This is about all the material you will need, with 
the exception of paints. For the present we advise the 
use of advertised readv-mixed inks for beginners, as 



these can be secured at a very small expense and are 
much more practical for the haberdasher's work than 
dabbling with the mixing of paints and colors, which 
usually mar the appearance of a sightly store corner or 
workroom. These inks come in all kinds and colors, but 
for the beginner black is the most essential and practically 
is the only color you will need. In the next lesson we 
will take up the Hunt pen work and alphabet for practice 
work, ight now we wish to impress the beginner with 
the importance of originality. At the start he is com- 
pelled to copy, owing to lack of experience. He should 
study, examine and try to copy all good alphabets and 
signs whenever the opportunity presents itself. In this 
way he will soon become acquainted with the different 
styles of letters, and be able to originate. 

By using one style of lettering for all cards and signs 
the beginner will find the burden much lighter. The 
common mistake made by nearly every student is to try 
to juggle with the different styles of letters without first 
mastering one general style. 

In the next lesson we will give you a style of letter 
which you should master because it is practical, quick 
and legible. Be sure to reserve this lesson, as you will 
need it in future. 












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Fig. 8 — Roman Alphabet and Elementary Strokes 

LESSON N(£X 2 

PEN WORK, THE SINGLE STROKE ROMAN, THE RULING GAGE FOR HUN T PEN WORK 



THE first alphabet we describe in this series of show- 
card writing articles is pen work. We give this 
first consideration because it is without question 
the most useful and practical alphabet that the showcard 
writer uses at the present time. Work can be accomp- 
lished very quickly after the accompanying alphabet has 
been mastered. In fact, some card writers will execute 
a thousand showcards and price tickets a day with the 
use of this inexpensive instrument. 

The Hunt No. 400 pen is really a stub pen, made to 
meet the requirements of showcard writing. We recom- 
mend for practical use the double-pointed penholder, as 
illustrated in Figures 4 and 5, under this heading shown 
in Lesson No. 1. This article also gives the correct posi- 
tions for holding the pen in practice work. 

If you find the pen too stiff at the start, it may be 
softened by holding it over a match or flame for about 
four seconds, and then quickly dipping it into a glass of 
water. 

The important Rules 

There are three essential rules that you should keep in 
mind in working with the Hunt pen. All strokes, 
light or heavy, are written by means of the full edge of 
the pen. Perpendicular strokes should be given very 
little pressure, and heavy strokes formed with the whole 
width of the pen are also made with very little pressure 
on the cardboard. At the same time, you must learn to 
move the pen evenly over the paper. Any penholder 

6 



may be used for this work, but one with beveled edges, 
as illustrated in Figures 4 and 5, will have a tendency 
to more readily guide you in the correct position for 
pen use. It is also advisable to have enough penholders 
on hand to answer for the various sized pens that you 
care to use. You will also notice the ink retainer attached 
to the penholder. With this little device the pen will 
carry eight times the quantity of ink, and render pos- 
sible mure rapid work, without the tendency of flooding. 

Showcard ink for pen use should be thinned with 
water, about half and half, so that it will flow freely 
from the pen. Some card writers prefer diluting their ink 
with a black writing fluid such as Eternal Black Docu- 
ment Ink, using three parts of this to one part of Let- 
terine. Do not attempt pen lettering on a glossy finished 
board, as work on this surface is almost sure to spread 
and blur. It is advisable to use an uncoated stock, one 
which has a" slight absorbing tendency. This, you will 
find, will give good clean-cut strokes, and will not blur. 
Most cardboard is coated on one side and uncoated on 
the other. For penwork it would be advisable to use 
the uncoated side, and for brushwork the coated side. 

The original sizes of the illustrated cards, Figures 9 
and 10. which accompany this article, were one-quarter 
sheet, 11 x 14 inches. We rarely see more than one- 
quarter sheet used in high-grade haberdashery shops at 
the present date, and in many cases an eight sheet, 7x11, 
will answer. 

In showcard infancy it was advisable to have large 
cards in order to attract attention to the showcard, but 



DAILY'S SHOWCARD WRITING SYSTEM 



at the present time the showcard is looked for as an ex- 
planation of the display, in order to make it complete. 
The Roman Alphabet 

The Roman alphabet, which accompanies this article, 
is considered the easiest of all alphbets to read. It 
is, therefore, one of the most practical for mercantile 
purposes. 

The following remarks will, no doubt, assist you to 
more readily grasp the construction of this letter. 

All down strokes from left to right are heavy line 
strokes, made with the full width of the pen, while the 
oblique line to the left is thin. If you remember this 
important rule, you will never make the mistake of hav- 
ing the "A" look as if it were written backward. See 
elementary strokes in Figure 8. 

As an illustration of this point, we call your attention 
to the dozen strokes from left to right on the follow- 
ing capital letters: A, K, M, N, V, W, X and Y. The 
top and bottom guide lines for the letters shown in our 
lesson plate are first ruled in pencil, and then erased 
with art gum, after the showcard has been completed. 
The original size of this reproduced plate is 9 l /> x 18 
inches. The distance between the guide lines for the 
capitals is three-quarters of an inch. The ascending and 
descending letters go above and below, respectively. All 
letters in this lesson plate are shown with the spur ; that 
is, the points extending from the corners. By carefully 
studying and practicing the lines shown on the lower 
part of 'this lesson plate, you will readily grasp the con- 
struction of the letters, and the directions of the strokes 
of the various parts necessary in forming the accompany- 
ing letters. 

It is advisable to practice these strokes a number of 
times before attempting the letter work. First make 
the entire alphabet without the strokes, and then prac- 
tice on the formation of the strokes, as this will be one 
of the most difficult parts of the letter to master. This 
original plate was made with No. \y> Hunt pen. 
The accompanying showcards, Figures 9 and 10, which 
are one-quarter sheets, 11 x 14 inches, show the use of 
our illustrated alphabet. Figure 9 was made with the 
No. 2 pen, and Figure 10 was made with the No. 3 pen. 

One Layout 

The laying out of the showcard is one of the most im- 
portant details and it is always advisable to allow plenty 
of white space around the card and not to crowd the 
wording ; neither should it be spread too far. 

The best way to lay out a card is to measure off an 
equal distance with the eye, around the margin of the 

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cosiyou but 
a trifle more 



card, and strive to keep your lettering an ecpial distance 
within this margin. Strive to have the letters look about 
the same distance apart, and the space between the lines 
even. If this is neglected, the layout is apt to look 
crowded in some places and patchy and drawn-out in 
others. 

If you find that you are apt to run over the margin 
on the card, do not crowd the letters in the limited space, 
but rather spread them, and begin on new lines. The 
best appearing cards are so spaced that the first letters 




Fig. 11 — Attachment for Border Ruling 

in each line form a perpendicular line. This is illustrated 
by the letters L, O, B and I, in Figure 10. 

The showcard may often be improved upon by ruling 
a border, or doubled rule border, around the edge. This 
tends to give the card a finished appearance. 
Pen Ruling Attachment 
Our illustration, Figure 11, shows an attachment for 
the pen which will assist in marking border rules 
very quickly. The pen is simply dipped in the ink, 
and the marginal ruling gage will give you an equal dis- 
tance around the card. This gage comes in a number of 
sizes, y, y 2 , Y\ and 1 inch. This is of special service in 
ruling small cards and price tickets. By arranging your 
gage, so that you can rule from the edge of the table, 
placing your card accordingly, practically any width nar- 
rower than one-fourth of an inch may be secured. This 
gage cannot be used for ruling under words in the body 
of the card, such as Smith & Company, in our accompany- 
ing illustration. This must be done with the regular 
I I unt pen and ruler. 



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Fig. 16 



LESSON NOo 3 

PAYZANT PEN AND ALPHABET— REGARDING PRACTICE WORK— SHOWCARD SUGGESTIONS 



IN this article we show with illustrations the Payzant 
pen, and describe a number of its uses. This is a new 
showcard-writing tool, which has within the last few 
years met with much favor, among card writers gener- 
ally. Some claim that the use of this pen does not re- 
quire the skill and practice necessary for the brush work, 
and for this reason we are describing both the Hunt 
and Payzant pens, before taking up the subject of the 
brush work. 

Figure No. 12 shows the different strokes that can be 
secured with Payzant pens, as well as the construction 
of the pen itself. This pen is so constructed as to pro- 
duce the same gage of line, no matter in what direction 
the pen is moved over the surface of the showcard. 
Use of the Payzant Pen 

Owing to this fact of uniformity in line work, it is 
an excellent pen for the novice to practice with. Again, 
calling your attention to the illustration of the pen, you 
will notice that it has a reservoir attachment. It is 
claimed that the pen No. 1 in size has a capacity of ten 
or more words with each filling of ink. 

There are two inks that work best with this style of 
pen; any good indelible drawing ink and any brand of 
document ink, commonly called eternal black. This pen 
will not flow thinned showcard inks. 

For border lines, or heavy line work, these pens are 
far superior to the ordinary pen, as twenty-five to thirty 
feet can easily be ruled without filling the reservoir. 

Figure 13 shows the position of the pen in ruling. 
Where a great deal of ruling is to be done, it is advisable 
to mount the ends of the ruler on corks or wooden braces 
8 



so as to lift it slightly from the paper, and thereby avoid 
blurring. A rule with a bevel edge may also be used, 
placing the bevel edge down next to the card. Should 
the pen become clogged while in use, open the nib 
slightly, and insert the edge of a piece of paper. This 
will clean it, and the ink will flow freely again. 

After using, remove the set screw, open the reservoir, 
and clean as thoroughly as possible. 

The Alphabet 

The accompanying alphabet, Figure 16, was made with 
the No. 2 pen, and the figures with the No. 1 pen. The 
original size of this card was 9% x 17 inches. The guide 
lines between the capitals are $4, of an inch, and the 
lower case Y% of an inch. The guide lines between the 
figures are T/% of an inch. On account of the strokes 
being of uniform thickness it was not necessary to illus- 
trate elementary lines with this alphabet. For practicing 
you can get the elementary strokes by directing the 
capital letters, A, B, O and the figure 5. 

The accompanying showcards show an excellent ex- 
ample of the Payzant pen lettering. Both of these cards 
was originally of one-quarter sheets, 11 x 14 inches. In 
making smaller cards, such as one-eighth sheets, it would 
be advisable to use smaller pens. 

The showcard, Figure 14, was made with the No. 1 
and the No. 3 Payzant pen. The illustrated line strokes, 
of course, were made with the No. 1, and the body of 
the card with the No. 3. 

The showcard, Figure 15, shows the combined use of 
the No. 1 and the No. 3 pen. 



DAILY'S SHOWCARD WRITING SYSTEM 



The rule border work around these cards was also done 
with the Payzant pen, as illustrated in Figure 13. 

In order to be successful in showcard writing much 
practice is essential. First study your letter, and then 




I 



Fig. 12 

keep on practicing until the hand becomes accustomed 
to the movement, and will swing with a free and rapid 
motion. Confidence in movement is very essential for 
expert work. Without it the letters are bound to have 
an uneven and amateurish appearance. 

If you will remember that good showcard work is al- 
ways made with a dash, you will develop a style of your 
own, and your showcards are sure to have an artistic 
finish, which is impossible to secure on a printed or rub- 
ber-stamped card. 











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until you have become proficient in plain work. In fact, 
the best stores will not tolerate such embellishments. 

In hot weather, or when you are perspiring freely, do 
not fail to place a piece of paper under your hand to 
protect the card. For cleaning the card art gum or 
sponge rubber is the best. Endeavor to memorize with 
care the correct strokes of each alphabet, as you practice 
them. Learn to distinguish one style from another. It 
is well to remember that glossy showcard ink will work 
with a pull on the grain of the paper, and is easier to 
handle than flat colors, especially for brush work. For 
pen work a free flowing ink is necessary. Ordinary show- 
card ink will have to be thinned with water. 











NECKWEAR! 

FcxsKi ore's lcute^st 
tKo"uu6rtt. 











Fig. 15 

Cultivate an easy, graceful movement, as a cramped 
finger or hand will make it impossible to acquire great 
speed in the work. 

The showcard student will find that experience is the 



Fig. 14 

In the following we give a few hints on showcard 
writing which you will find of value in your practice 
work. 

Always keep your brush or pen free of drying color, 
otherwise your work is apt to be blurred and uneven. 
Always clean your brushes daily, after work, using clean 
water and often soap. 

Always leave sufficient margin on all showcards, in 
order to prevent a crowded effect, which you often see in 
work of this kind. It is advisable to erase all pencil b est and safest teacher. By diligent and constant prac- 
marks, such as guide lines and spacing lines, as they t ice the improvement will come gradually. The best 
detract from the neatness of the card. showcard writers made many poor cards at the start, so 

Be temperate in the use of fancy scrolls, flowers, etc., do not be discouraged as you progress. 




Fig. 13 








Fig. 23— Heavy Roman Spurred Alphabet, Made With No. 1 Hunt Pen 



LESSON 



4 



THE HEAVY ROMAN-SPURRED ALPHABET — POINTERS ON SPACING 
AND LAYOUT — USE OF THE SILHOUETTE FOR SHOWCARD WORE 



THE alphabet shown above in Figure 23 illustrates 
Hunt pen lettering, which is known as the 
heavy Roman spurred style. It derives its name 
from the construction of the spurs which finish the letter. 
These spurs, as you will notice, are unusually heavy; 
otherwise the formation of this alphabet is similar to the 
pen lettering described in Lesson 2, Figure 8, which is 
known as the regular Roman alphabet. The original 
size of the card on which this alphabet is made is 9 l / 2 
inches in height by 17 inches in width. The pencil guide 
lines made between the formation of the capitals are Y\ 
of an inch, the lower case guide lines, such as lower 
case "a," are }i of an inch, and the lettering was made 
with a No. 1 Hunt pen. 

We give you these measurements in order to more 
clearly assist you with your practice work. For further 
information regarding rules for using the Hunt pen and 
the position for holding, we refer you to Figures 4 and 5 
in Lesson 1 and Figure 11 in Lesson 2. 

In executing this alphabet the pen is held so that the 
stub or point is at an angle of forty-five degrees at all 
times. With practice you will find this an easy alphabet 
to master and one which will lend itself readily to gen- 
eral store showcard use. 

Outline Figures 

It is very often necessary, especially where a certain 
price on the showcard is to be featured more strongly 
10 



than the remainder, to resort to other lettering than pen 
work. For this purpose the outline Roman figures 
are the most popular. Figure 24 shows a set of fig- 
ures which are favored for this purpose. This is known 
as the outline Roman figure. The difference in execution 
of these Roman figures and the single stroke figures illus- 
trated in Figure 8, Lesson 2, is that instead of making 
a complete line or section with one stroke, it now re- 
quires several of these strokes to form the outline to the 
figure, which is then filled in, giving the design a heavy 
black surface. 

No. 1 illustrates the construction of this style of figure 
work. The original guide lines between the illustrated 
figures was 2}i inches. It is advisable to give much 
thought and practice to your figures, as they are one 
of the most important parts of successful showcard 
writing. 

The illustrated cards, Figures 25 and 26, show the use 
of the illustrated heavy Roman spurred alphabet. Fig- 
ure 25 also illustrates the use of the outline Roman 
figures, and further illustrates the point that a different 
style of figure is necessary to forcibly call attention 
rather than the regular pen design. Another point 
to be remembered in showcard writing, which dif- 
fers from ordinary printing, is that the dollar and cent 
signs should be made much smaller than the height of 
the outline Roman letter. This is illustrated in our card 



DAILY'S SHOWCARD WRITING SYSTEM 



11 



No. 25. By this method you will secure a much more 
artistic effect than by having it the same size and height 
of the figure itself. The accompanying cards also show 
excellent examples of showcard layout. 

It is always advisable to have as near an equal white 
space from the border on either side of the lettering. In 
order to make the best appearance the card should have 
a trifle narrower margin between the edge and the be- 
ginning of the lettering at the top of the card than at 
the bottom. This point is illustrated in both of the 
accompanying cards, Figures 25 and 26. The reason for 
difference in spacing at the top and bottom and making 
the space nearly equal at the sides is that the line of 
vision always falls a little above the center of a card. 
For this reason the best effects in lay-out are secured 
by allowing slightly more margin at the bottom than at 
the top. 

Another point that should be remembered in showcard 




Fig. 24 — Outlined Roman Figures 

writing in order to secure the most artistic effect is that 
the space between paragraphs should never be more 
than the combined width of either paragraph which it 
separates. As an illustration we refer to card No. 26. 
The white space dividing the paragraph or catch phrase, 
"Step in," and "And Let Us Show You Our Line Of." 
should not be greater in distance than the combined 
width of the largest paragraph, which is "And Let Us 
Show You Our Line Of." This is an important point 
in showcard writing, which will assist in lifting the 
otherwise amateurish card into the professional class. 

The exact size of both of the illustrated cards 25 and 
26 were quarter sheets 11 x 14. 

Our illustration No. 27 shows a number of practical 
ways for embellishing the showcard. which come under 
the heading of "Silhouette Work." This class of work is 
excellent for showcard use for two reasons : they are easy 
and quick to execute, and they can be seen at a greater 
distance than any other class of drawing. In drawing- 
the silhouette all that is necessary is to secure a good 



outline, then mark around this evenly with a brush, secur- 
ing as clear a contour as possible, after which the illus- 
tration is filled in heavily with the paint. 

We will now describe how an amateur artist can easily 




Fig. 25 — Outlined Roman Figures 

draw the silhouette. The illustration in showcard Fig. 
No. 26 Avas taken from the pages of a magazine. 
This was first cut out with the scissors. - Now, by laying 
this on a flat surface and outlining with a pencil you have 
a similar design to the first illustration shown in Figure 
No. 27. This should then be outlined with ink, utilizing 
a pen, or if your hand is steady, the brush may be em- 
ployed ; then by filling this in you have a similar effect 
to the second illustration. Or, if you are enough of an 
artist, you can make a pen sketch of it as shown in the 
third illustration, which, however, is not as strong for 
showcard purposes as the black silhouette. 

The last illustration shows a combination silhouette 
and pen sketch. You can readily understand that by this 



Slep ±ir^~ 

a*vcL lefts \^s slno^u 
-you o\xtr liirue oJT 

Oyercoats 




Fig. 26 — Use of Cut-Out Illustration 

method the same design may be easily repeated on a 
number of cards. If you are inexperienced in drawing 



12 



DAILY'S SHOWCARD WRITING SYSTEM 





Fig. 27— Methods of Quick Sketch Work 



and would like to enlarge a certain design in silhouette 
form, it would be advisable to use the Block system for 
enlarging. 

By this system you first divide the formation to be 
copied into small squares, doing likewise on the card. 
Of course you understand this is chiefly a system for en- 
larging; therefore, the squares on the cardboard must be 
as many times the size of the small squares as you care 
to enlarge the illustration. 

By carefully studying the editorial and advertising 
pages of magazines you will find many designs which 
lend themselves attractively to silhouette showcard 
designing. 

An Artistic Showcard Frame 
Showcard writers are at times at a loss to keep their 
showcards from warping due to the exposure to sun in 



their show windows, and to overcome this difficulty an 
artistic bevelled edge design is here suggested with ac- 
curate measurements in inches. This bevelled edge frame 
should be cut from heavy mat board at least one-eighth 
of an inch in thickness. This should be cut with a spe- 
cial' sharp mat knife. If the card writer feels that he 
cannot do a first-class job it is suggested to lay it out 
accurately according to these dimensions and let a pic- 
ture framer cut it out for him. 

Two slides are arranged on the back of the card top 
and bottom building these up from strips of cardboard 
with the top strip being slightly wider than the rest so 
that the showcard slips into this slide and is held snugly 
up against the frame. A frame of this character can be 
set up against any object, or in the corner of the window, 
etc., and carries out two functions, keeping the card in 
good shape and an artistic high-class appearance. 




Suggested Design for Showcard Frame 



ate def ghy klmnopgrst 
uv wxy:z * Light Gothic > 

1234667S9 

ABCDEF6MIJKLMN' 

0PORSTUVWXYZ& 



Fig. 16 — Light Gothic Brush Letter — "The Haberdasher's" Alphabet 



LESSON NO. 



SINGLE STROKE BRUSH WORK ILLUSTRATING THE LIGHT GOTHIC LETTER WITH EXAMPLES OF ITS USE 
IN COMBINATION WITH PEN WORK— DESCRIBING AND ILLUSTRATING HAND-MADE EMBOSSING 



WITH this article we take up our first alphabet on 
brush work. We described both kinds of pen 
work before taking up the brush, as they 
are more generally favored for mercantile showcard 
use, because these cards are rarely made larger than a 
quarter sheet (11 by 14 inches). However, they are 
occasionally certain words or phrases which should be 
brought out on the card in a more prominent way, which 
is called "Head Line Work." Pen lettering will hardly 
answer for this purpose, as one is limited by the size of 
the pen strokes. 

It is, therefore, most essential that a thorough card 
writer also master a brush alphabet and one that is espe- 
cially adaptable for head line work in the haberdashery 
shop. 

Brush Strokes Easy to Master 

If you have mastered both kinds of pen lettering 
given you in previous lessons, you should have 
no trouble in grasping the construction of the accom- 
panying alphabet. In fact, some card-writing instructors 
claim that it is easier to take up brush work after you 
have once mastered the pen lettering, and they suggest 
pen lettering card work instruction first because the 
average layman has had experience with the pen in writ- 
ing, while very few beginners have had experience in 
brush work. This method, it is claimed, should have a 
tendency to assist the student to more readily grasp the 
construction of letters, as it is not essential for a student 
to devote a great deal of his practice time to the proper 



holding of the pen, as it is held in a similar position to 
hand writing, while with the brush work it requires con- 
siderable patience and practice in order to master the 
correct position of the hand in executing brush letters. 
Plain Black and White Letters Desirable 

For general use we recommend the plain black 
and white showcard as being the most appropriate for all 
occasions. However, for featuring some great style event 
or announcement, a showing of new merchandise, etc., a 
simple artistic embellishment may be indulged in. By an 
artistic card we do not mean one that requires much time 
in lettering or one on which much scrollwork or color is 
employed, but rather a neatly laid out card, using a good, 
plain, artistic letter. 

The Light Gothic Alphabet 

The alphabet we herewith reproduce is known as the 
"Light Gothic," and is one of the characters we have in 
mind for artistic work, at the same time presenting a 
letter which is easily read at a glance. 

This alphabet is one of the many modifications of the 
Gothic letter. It is made with a Red Sable Rigger brush, 
chiselled to a flat edge at the point. Each section of the 
letter is completed by a single stroke, and our illustra- 
tion shows how spurs are 'utilized to embellish the letter 
at its various points. This alphabet has a great advan- 
tage in permitting an extension or condensing without 
ruining the effect; in fact, this will often add to the 
artistic strength of the layout. For those who are not 
familiar with these terms, we will sav that condensing is 

13 



14 



DAILY'S SHOWCARD WRITING SYSTEM 




Fig. 17 — Hand Embossing 



Cravats 

yy/icit lao/c x)ollansK 
/ 




Fifty Cents 

&co6a/>l^/ sieve/'' -agauzs 



Fig. 18 Fig. 19 

Hand-Embossed Border and Illustrated Alphabet for Headlines 



a term applied to closer spacing of the letters, making 
them narrower than normal in width and extending is - a 
showcard term which means the opposite of condensing ; 
that is, the letters are drawn out to a greater width than 
normal. 

The height of the letter should in most cases be the 
same. 

The "Cyma" 

Another stroke that may be used with harmonizing 
effect with this alphabet is the "Cyma." This character 
is employed to equalize the spacing of irregular letters 
by placing it where the space is open. This is of special 
importance on letters that require something more than 
the plain letter itself to make the work appear solid and 
uniform. You will find an example of this illustrated be- 
tween the letters L and N in- the accompanying lesson 
plate. 

The "Cyma" can be successfully used in conjunction 
with letters such as L, M, U. V, Y, and can often be 
used to advantage in embellishing the letter itself, as is 



shown in the accompanying lesson plate in letters B, D, 
G, O, 0. This style of letter will look well with almost 
any figure, but if figures are used on a card we recom- 
mend the use of the set illustrated, which are in direct 
harmony with the letters and will therefore give you 
a more artistic card. 

Suggestions for Practice Work 

The brush required for this work is somewhat different 
from the ordinary red sable rigger. It is known as the 
number three special brush, and is different from the 
ordinary rigger brush in its construction. The hair stock 
of the brush is only a half inch long and is of lighter 
construction than the ordinary rigger. This permits 
the writer to chisel the brush to a finer point, which will 
enable you to make the sharp lines illustrated in the 
alphabet. 

In practice work the brush may have a tendency to 
split, but this will not interfere to any great extent with 
the formation of the letters. 

One thing you should always remember is to work on 



DAILY'S SHOWCARD WRITING SYSTEM 



15 



the point of the brush, the very tipmost end. If you will 
bear this in mind you will soon be able to accomplish 
perfect work. 

The accompanying alphabet (Figure 16) was made on 
a card 12 inches high and twenty-two inches in width, 
having a double line border seven-eigths inch entirely 
around the card. The capital letters and figures are 
eleven and one-half inches between guide lines and the 
lower case letter "a" is seven-eighths inch between guide 
lines. We give you these measurements in order to 
assist you in your practice work. 

Chiseling the Brush 

The most important detail regarding brush lettering is 
that of chiseling or flattening the brush. This is accom- 
plished by rubbing it back and forth on a flat, smooth 
surface. A glazed piece of cardboard will answer for 
this purpose, but you will find the use of a piece of glass 
to be the best, as it can be washed off and used over and 
over again, and it does not have a tendency to absorb any 
of the paint. 

In chiseling the brush you, of course, understand that 
the brush must first be dipped into the ink or paint be- 
fore you commence the process of chiseling. This tends 
to remove the surplus paint and also to rub it thoroughly 
into the brush, thereby giving you a greater range of line 
work between brush and dippings. 

Water color paint for flat brush strokes should contain 
plenty of sizing so as to hold the hairs of the brush to- 
gether, which will assist you in forming a more even line. 
If you exeprience any difficulty from this source, it may 
be overcome by adding a little more mucilage to your 
paint. 

In practicing almost any kind of a cardboard with a 
smooth surface will answer. 

How to Do Hand Embossing 
One of the most appropriate embellishments for show- 



cards is that of embossing. To the average laymen these 
cards look as if they are machine made. They may be 
in some cases, but a very effective card can be hand- 
embossed in your own shop and be very quickly made. 

Our half-tone illustration (Figure 17) shows the meth- 
od employed in doing this kind of work. In fact, the card 
that is being demonstrated in this illustration has the 
same border as the one used in the accompanying show- 
card (Figure 18) headed "Cravats." In order to do this 
work cpiickly and effectively you must first of all cut 
from heavy cardboard a mask of the same pattern as the 
design to be embossed. This is placed at the back of the 
card on a flat smooth surface. Great care must be taken 
that the card to be embossed cannot slip. It is advisable 
to use pins in the corners or center of the card in order 
to prevent the card from shifting. 

The embossing is done with a large wooden knitting 
needle having a round end. This tool is shown in our 
illustration. The cardboard is placed to balance around 
the mask above the mask carboard disk. By rubbing 
hard around the edges with the needle it will give you 
the embossed effect which each of our illustrated cards 
shows. 

The two accompanying showcards show the use of a 
hand embossed border which is made with the round 
pointed knitting needle before described. The word 
"Cravats" (in Figure 18) and "Fifty Cents" (in Figure 
19) shows the use of our illustrated alphabet for head- 
line purposes. The remainder of the card is lettered with 
the Hunt pen, using a slant Roman letter which is 
very similar to our Roman alphabet described in a pre- 
vious lesson, with the exception that the letters are made 
on a slant. 

The originals of these cards were quarter sheets 11 by 
14, and are plenty large for the average show window 
use. 



In order to do clean cut brush work it is necessary to 
have the end of the showcard brush in perfect condition. 
A handy method of trimming the brush accurately is 
shown in the accompanying illustration. Wet the brush 
and flatten and place the portion of the brush to be 
trimmed so that it is exposed just over the straight edge 
of a piece of glass, then run a piece of fine sand paper over 



the few irregular hairs that protrude. This will give a 
perfect straight clean edge and far superior to knife, razor 
and scissors, which are too uncertain in unskilled hands. 
Exercise great care as to the amount to be cut off the 
end of the brush. Do not cut the end of the brush so 
that it is stubby, as its usefulness is thereby often com- 
pletely destroyed. 







ABCDEFGHIJKLMNOPQRS 
TUVWXYZ 1234567890^ 

Music Pen Lettering 
ABCDB GJ K L MO SI VW^ 7 

ab c def ^hij klmn 
ClD opqrstuvwxyz^ 



Br 



Fig. 28 — Illustrating Upper and Lower Case Music Pen Roman Alphabet 



NO. 6 



TTH THE MUSIC PEN 



ALPHABET IN USE — RUBBER BAND PANTOGRAPH 



EXAMPLES OF THE ILLUSTRATE!] 
FOR ENLARGING — SUBJECT SHOWCARD« 



WITH this article we reproduce an upper and lower 
case alphabet and three cards executed with the 
music pen. A fair knowledge of the Roman al- 
phabet is necessary to successfully manipulate this pen, 
and if you have conscientiously studied the alphabets 
shown in Figure 8 and Figure 23 of the previous lessons 
you will be able to grasp the formation of the music pen 
Roman alphabet in a very short time. 

This pen differs from the ordinary pen in that it re- 
quires a heavier or thicker ink. The pen hold a greater 
quantity than the average showcard writing pen, and it 
is therefore advisable to have the ink heavier so that it 
will not run off so freely. Distemper color, which may 
be secured in any paint store, is plendid for this use. 

The music pen is practically a new instrument for card 
writing, and is fast meeting with popular favor. It 
has a distinct merit owing to its construction of covering 
a wider range in the width of the lines than any other 
pen. This has a decided advantage in making fewer tools 
necessary, thereby eliminating unnecessary movements, 
all of which is essential in commercial showcard writing, 
which should always be done as quickly as possible to be 
consistent with good work. 

Another advantage that the music pen has is that it 

can be used on either smooth or rough surface board. 

The German make of pen especially adapted to white 

lettering on colored board, both smooth or rough finish. 

16 



There are two makes of music pen on the market that 
warrant the consideration of the card writer. These are 
the Leman pen, made in England, and the German pen. 

In order to become proficient with the music pen it is 
necessary to master three strokes. The first two strokes 
are the thick and thin strokes of the letter "A," and the 
third stroke is the graduating stroke of the letter "O." 
The stroke of the letter "O" is made by the same method 
as governs the rule in penmanship, namely, pressure at a 
given point. 

In making the letter "O" the pen is started as you 
would start in regular writing, the pressure is added 
gradually to the pen until the extreme width is reached 
at the center between your guide lines. Then the pres- 
sure is gradually released as you round out your stroke 
to the lower line. 

In forming both the lower and the upper case "S" it is 
well for the student at the beginning to outline and fill in 
as is indicated in the lower case "g" of the accompanying 
alphabet. 

As before stated, the thin fluid ink should never be 
used. If the ink has a tendency to flow freely you can 
make an ink retainer by winding a small rubber band 
around the end of the pen which will have a tendency to 
hold the fluid back. 

Caution should be used in crossing letters such as "t" 
and "f," lower case. It is best to do this after the main 



DAILY'S SHOWCARD WRITING SYSTEM 



17 



part of the letter dries, in order to avoid blotting. (See 
Figure 28.) 

The Music Pen Roman Alphabet 

The original size of the accompanying alphabet is 9y 2 
inches high by 17 inches in length. The rule around the 
alphabet is about 24 of an inch. The guide lines for the 
capitals are about 11/16 of an inch in width and the guide 
lines between the lower case letters are 6/16 of an inch in 
width. 

The large capital "B" shown in the lower right-hand 
corner of the illustrated lesson plate is made with a 
double stroke of the pen. 

As small hand lettering for window cards is becom- 
ing more and more popular it is most advisable that the 



BB 


A mem is known 
by the 

Suit Case 

he carries 



Fig. 30 — Subject Showcard With Miniature Suit Case 

showcard writer become proficient with the small work. 
You will find that it will be much easier to master the 
larger letters after you have the construction of the small 
alphabet firmly fixed in your mind. 

Each of the accompanying showcards gives examples 
of this Roman music pen alphabet in use. 

A Simple Pantograph 

The accompanying reproduction (Figure 29) shows a 
simple method of enlarging which is executed with the 
aid of a rubber band, forming a pantograph. This illus- 
trates exactly how these enlargements are made. 

For example, a pin is placed where the left hand ap- 
pears. To this a number of rubber bands are attached 
so that they will easily expand to the full length of the 
enlarged reproduction. 

The next step is to note the extreme position of the ex- 
tended rubber band which is stretched to the extreme 
contour of the enlarged design. When the rubber band 
is extended to the extreme contour of the enlargement, 
as illustrated, a knot is made in the rubber band at the 
extreme point of the design to be enlarged, or a string 
may be tied around the pin at this point. This knot or 




Fig. 29— A Simple Pantograph Made of Rubber Bands 

string is then carefully followed around the contour and 
other lines of the design. 

The pencil, of course, is used on the extreme end of 
the rubber band, thereby giving the enlarged effect in 
pencil, after which it is outlined with the brush or pen. 
By giving a little attention to this method of enlargement 
you will find it will answer admirably for showcard writ- 
ing purposes. 

While the reproduction may not be as true as one made 
with the original pantograph it has a distinct advantage 
in the saving of time, making fewer tools necessary, and 
the expense of buying a pantograph, which is rarely used 
in the average showcard writing shop. 

In order to make one point clear in describing this 
pantograph, I wish to call your attention to the knot in 
the rubber bands (Figure 29), which you will notice is 
directly over the cane in the smaller illustration. 
Subject Cards 

The three accompanying showcards are known as sub- 
ject cards. They show embellishments to the card that 
assist wonderfully in calling attention to the wording. 
The wording should always be made to draw attention 
to the subject, or it should be in harmony with the sub- 
ject. Cards of this character may be laid out in a number 







A Skeleton 

a bare reminder 

of its 
former price- $*2,.? 



Fig. 31— Subject Showcard to Use at Sale Time 



18 



DAILY'S SHOWCARD WRITING SYSTEM 




Fig. 32 — Subject Showcard With Miniature Golf Sticks Inserted 



of effective ways. The objects are usually glued to the 
card or fastened with fine wire. Subjects that may be 
used in this way are of unlimited variety. An important 
item to remember in writing cards of this character is to 
have the catch phrases short and to the point. 

Figure 30 shows a miniature reproduction of the suit 
case, which is especially appropriate to embellish a card 
to be used with the showing of traveling necessities. 

Figure 31 shows a wire skeleton which may be used in 
featuring an article at a special price concession. 

Figure 32 is especially appropriate for a showing of 
golf shirts. The embellishment consists of miniature golf 
sticks. 



The suggestions for subject cards are many, and, no 
doubt, with a little thought, clever ideas of this kind can 
be secured from many sources. 

A few ideas are as follows : 

Subject, a few matches ; catch phrase : "Yon can't 
match it at $1.50." 

Subject, a wish bone ; catch phrase : "For what more 
could you wish? This stylish shirt at $1.50." 

Subject, a small papier mache toy or wooden hatchet; 
catch phrase: "Here is a special cut-price value for 
Washington's birthday." 

Subject, papier mache toy ducklings or chickens; catch 
phrase : "The latest out and the newest in." 



IN marking off an oval or what is generally but incor- 
rectly called an ellipse, the following simple method is 
suggested to the showcard writer. Draw a line the 
exact length of the longest parts of the oval as from A 
to B as shown in the illustration. Now find the center 
and draw a line at right angles to line A-B. Mark off 
the narrow width of the oval on this line indicating the 
width with two dots as shown in the illustration C-D. 
Now take one half the length of the longest line A-B 



and measure this length off from points D and C on A-B. 
At these points a long pin is inserted as well as at 
point D. Around these three pins a piece of cord is 
placed and tied snugly. Next remove the pin at point D, 
place a pencil in the loop and draw it out as far as it will 
admit. The pencil is now carried around in a circular 
way making a perfect oval as shown. Of course it will 
be understood that a cord which will not stretch must be 
used ; otherwise the measurements will not be perfect. 




qrstixvwxyz^- etc* 

ABeDEFGHURLMN 
0PQ£STUVWXY2 



Fig. 35 — Upper and Lower Case Narrow Roman Alphabet, Made With a Mammoth Writing Pen 

LESSON NO, 7 



ST — MOW TO MAKE YOUR OWN PEN FOR THIS PURPOSE — NEW 
IDEAS IN SHOWCARD STENCILING — POINTERS ON CUTTING AND TAKING CARE OF THE STENCIL 



THE showcard accompanying this article reproduces 
a new idea and a very practical one for showcard 
writing. This consists of stenciling the showcard 
in an attractive and artistic way. 

Stencils of this character are of special value to the 
showcard writer in the fact that they permit of fast work, 
allow for a repetition of design on the individual show- 
card and on as great a quantity of showcards as may be 
desired. 

These designs are all made on quarter sheet cardboard 
(ll"xl4"). Each shows an entirely different layout 
which gives some idea of the possibilities which may be 
accomplished by stencils of this character in practical use. 
These designs may be readily and more effectively made 
in colors. We have reproduced them, however, in black 
and white, so as to give the reader a clearer idea of their 
exact formation and layout. 

These stencils are all of a stock design and are inexpen- 
sive in the fact that they may be used over and over 
again. 

Home-Made Stencils 

Stencils of this character may also be home made and 
are especially desirable where the card writer wishes to 
reproduce a trade-mark or signature cut around the 
border or in the body of the card. In making stencils 
the toughest medium weight manilla paper is best. It 



should be oiled thoroughly with boiled linseed oil, allowed 
to stand for twenty-four hours and then thinly coated 
on each side with shellac. A prepared oil paper may also 
be obtained that will answer the purpose very well and is 
a time-saver over the other treatment. 

Cutting the Stencil Design 

In making a home-made stencil first lightly sketch the 
design on your stenciling paper, then lay this over a 
smooth surface. A piece of sheet glass is the best, as 
this affords a good surface on which the stencil may be 
cut out with a sharp-pointed knife. Use care in cutting 
so as not to cut through the ties, as a single tie cut will 
mar the value of the stencil design. 

In reproducing the stencil pattern on the card it must 
be held firmly against the card and quickly painted over, 
seeing that each part of the card is evenly colored. This 
is best accomplished with a round stubby brush. A brush 
of this kind may be secured for ten or fifteen cents. 

In placing the color on the card use a patting move- 
ment instead of a side-to-side movement. Practically 
any kind of water color paint will answer for this pur- 
pose. It should, however, be very thickly mixed so as to 
prevent it from spreading. After five or six designs have 
been reproduced, it is advisable to clean the stencil. This 
can be done by laying it face down on a clean board or 
other smooth surface and wiping it with a cloth rolled 

19 



20 



DAILY'S SHOWCARD WRITING SYSTEM 



into a ball. It is also advisable to clean the stencil thor- 
oughly before putting it away. This, if neglected, will 
cause the stencil to either break easily or the color to 
flow underneath because of the extra thicknesses of dried 




Fig. 34 — Mammoth Writing Pen and Where it May Be Cut 

color. Color left on a stencil will also have a tendency 
to warp it and render it practically useless for clean-cut 
work. 

Narrow Roman Alphabet 
With this article Ave show a narrow Roman alphabet, 
Figure 35, made with a mammoth writing pen cut so as to 
answer for this requirement. Professional store card- 
writers have been wanting an instrument for some time 
that will permit them to make a narrow Roman alphabet 
such as the one illustrated, and this is the first time to our 









Spring 
Styles 

Co/n/br&i6le en. ^f^& - 
S&/&s/l in- appe&s-aszce. 







Fig. 36 — Stencil Card Showing Illustrated Alphabet in Headline 

knowledge that this effect has been accomplished. We 
feel certain that these pointers will be appreciated by a 
great number of men who are partial to pen work and 
have found that the ordinary Soennecken and Music pen 
do not give them large enough stroke for large headline 
work that they may have had occasion to use. 
The Mammoth Writing Pen 

Our Figure 34 shows a drawing of the mammoth writ- 
ing pen. The original size of this pen is two and a quar- 
ter inches in length. It is made with sharp point as illus- 
trated. In order to make the large flat stroke shown in 
our accompanying alphabet it is necessary to cut this pen 
in the positions illustrated by the four dotted lines. If 
you care for an extra wide line it would be advisable to 
cut the pen at the dotted line showing the greatest width. 

After the pen has been cut with nippers or a large pair 
of shears each nib is then turned square with a pair of 
nippers as the pen is slightly concave. This end is 
squared up with a fine saw file and all the rough edges 
smoothed down. After using the pen if you find it still 











Easter 




WW) - 




,.^'>Cr.-C>" 1 CT-'""' / ' 





Fig. 37 — Stencil Design Appropriate for Easter 

has a tendency to mar the coating of the card, it should 
be treated with emery board or sandpaper in order to get 
the edge absolutely smooth. 

The Alphabet 

The original size of the card on which our alphabet is 
reproduced is 22 x 12. The guide lines between the upper 
case "A" are one-and-three-quarters inches apart. Guide 
lines between the lower case "a" is about one inch apart. 
This will give you an idea for layout and also some sug- 
gestion as to size of letter which you can make by treat- 
ing the mammoth pen in the fashion described. The size 
of the illustrated alphabet is equivalent to that of a No. 
8 red sable rigger brush. 

The three accompanying showcards show the use of the 
large mammoth pen in headline work. Showcard Figure 
36 shows the words "Spring Styles" worked out with the 
large pen. The remainder of the lettering is done by the 
Soennecken pen, described in previous lessons. 

In Figure 37 the word "Easter" is worked out with the 
large pen and in Figure 38 the words "Tie and Easter" 
show the use of this new idea. 



&$®*jt 




<Se£ 



cz szez/j 






CTii 



ie 




Easter 



Fig. 38 — Showing Use of a Medallion Stock Stencil; Also 
the Illustrated Alphabet in Headline Work 



ABCDBFGHIJK 
LMNOPQ.&S r I 
UVWX 

ab c d efghijklmn 
opqrstuvwxyz 

1234S6789 



Fig. 39— Stencil Effect Brush Alphabet 

LESSON NO. 8 

HOW TO USE TRADE JOURNAL ILLUSTRATIONS— DESCRIBING THE STENCIL EFFECT 
BRUSH ALPHABET— SUGGESTIONS FOR TINTING CARDBOARD AND APPLYING COLOR 

ILLUSTRATED cards are effective and practical for eral use. However, for a window sign many of the best 
showcard ornamentation provided only the illustra- showcard writers claim that a catchy card with colored 
tion applies in some way to the wording, goods on pictures will have a tendency to pull where a plain back- 
display, or is itself suggestive of the event or season. In and-white card would be overlooked entirely, 
selecting an illustration it should be picked with a thought For special occasions, openings and holidays, cards 
of compelling a perusal of the reading matter. Unless symbolic of the season are unquestionably very effective 
you are capable of designing and drawing your own illus- and the card writer should plan his work ahead for these 
tration in a creditable style it is best to use only such occasions so as to have something unusual which will 
pictures as can be pasted on the card, or enlarging pic- leave the forcible impression with the public that the 
tures with the aid of a pantograph. shop is a live one. 

A very neat and attractive sign can be made as our With this article we illustrate and describe a few cards 

illustrated cards show. Rather use letters only than at- which are decidedly out of the ordinary. The illustra- 

tempt to obtain a forcible card with a crude, amateurish tions have all been taken from the advertising pages of 

drawing which is apt to detract from a reference to the The Haberdasher and give only a faint idea of what may 

merchandise Opinions as to what a show card should be accomplished by studying the advertising pages, 

be are somewhat varied, but a plain white card with These cards are all made on the quarter sheet, eight-ply 

black lettering seems to be the most popular for gen- cardboard. Cards that are to be used for any length of 

21 



22 



DAILY'S SHOWCARD WRITING SYSTEM 



time should be of good weight, or else they are apt to curl, 
and this will spoil the appearance of any sign, no matter 
how well the letters and layout are planned. 

Illustrated Alphabet 

The illustrated alphabet (Fig. 39) shows an original 
idea which is known as the stencil effect brush alphabet. 
It is given this name because certain sections of the let- 
tering are made to represent the ties used in stencil 
work. 

The original size of this illustrated alphabet is 14 x 17^4 
inches. This card has a ruled margin of one inch. The 
upper case or capital letters are V/ 2 inches between guide 
lines. The lower case "a" is an inch between guide lines. 
These measurements will give you an idea of value in 
practice work. This alphabet is made throughout with a 
No. 8 red sable rigger brush chiseled flat. In practicing 
this letter we would first refer you to our article No. 1, 



These 
Clothes 

Qive that 

just Right 

Peeling 

iii Dress 




Fig. 40 

illustrations No. 2 and No. 3, which will give you an idea 
for holding the brush. After studying these illustrations 
turn to our lesson No. 5, which will give you complete 
details necessary in chiseling the brush for a flat point. 

This alphabet is of special value for showcard writing 
in the fact that it is quick of execution, legible and well 
enough finished to answer for the best showcard work. 
The illustrated cards all show the use of this design in 
the headline work. The smaller lettering is accomplished 
with the Payzant pen. Instructions for the use of the 
Payzant pen will be found in our lesson No. 3. The Pay- 
zant pen work on the accompanying card is all done with 
No. 3 pen. 

Tinting Cardboard 

Those who are interested in this series of articles have 
no doubt at times seen showcard effects that have greatly 
puzzled them in regard to the manner of making. The 
tinting of showcards is one of these effects which, when 
you know how it is done, is very simple. 

Tinting cardboard is a background effect secured by the 
blending of proper colors and can be quickly done. The 
necessary material is dry mineral paint or common dry 
color in powdered form, chalk or crayons. If chalk or 











Outing Wear 

Modes-l /Qsl^S 
Modern (g^ 











Fig. 41 

crayons are used it is best to powder them. We do not 
recommend their use unless it is impossible to secure the 
dry colors. The dry colors for this purpose can be bought 
at practically any paint store. 

Applying the Color 
After you have secured the necessary colors take a 
piece of cloth or cotton wadding and roll it into a ball, 
making a ball for each color that you are to use, dip this 
into the powder and then rub lightly over the desired 
space on the card. Before applying the powder shake the 
ball lightly so that the color will not cling too heavily. 
Bear in mind that this is a tint and the powder must be 
placed lightly. Very pretty tinted effects may be ob- 
tained by starting in the center of the cardboard with a 
dark color and shading out into white on the edges. 
When in doubt regarding the placing of colors take the 
rainbow as your guide. An easy way to remember the 
colors of the rainbow is to keep in mind the word "vibg- 
yor," the first letter of each color consecutively is repre- 
sented in this word. "V" for violet, "I" for Indigo, "B" 
for blue, "G" for green, "Y" for yellow, "O" for orange 
and "R" for red. 



mi 



me Collar 



tKat oives 
"Hie r«ipKi" sei - 
"Vo 1'he sceLrf. 




Fig. 42 



ABCDEFGHkJK 

LM1VOPQRST& 

UFfVXYZ 

abcdef&h i/'k Im n o 



Fig. 43— Flat-Brush Script Alphabet 



LESSON NO, 9 



, SHOWING THE USE 
OF INITIAL PANELS FOR EMBELLISHING THE CARD 



WITH this lesson we show what is known as the 
flat brush script alphabet. Flat brush card work 
is the most extensively used letter in showcard 
writing today. We want our readers to pay strict atten- 
tion to all details mentioned in this lesson, as the neglect 
of some little items, seemingly of no importance, may 
hinder your progress. 

The first thing you must thoroughly master is the chis- 
eling of the brush. The process for accomplishing this 
detail is thoroughly explained in our lesson No. 5. It 
would be a good plan to review this lesson carefully. 

The Flat-Brush Script Letter 
The original size of the card in which the illustrated 
alphabet was made was 24 by 17 inches. This has a rule 
margin around the entire card of \y 2 inches. The height 
of the capital letters is 1% inches. The height of the 
lower case "a" is 1 inch. The height of the lower case "1" 
is 1^4 inches. The upper case letters were made with a 



No. 14 red sable rigger brush, chiseled flat. The lower 
case letters were made with a No. 12 red sable rigger 
brush. 

This alphabet may also be made in smaller form very 
effectively with the Hunt pen. We quote you the meas- 
urements of the brush letters so as to give you an idea 
for practice work. Each of the illustrated cards shows 
the use of this alphabet for headline work. The shirt 
and clothing cards show upper case, or capitals, used 
for this purpose. The hat card shows a combination of 
both the upper and lower case. 

Defective Brushes 
Once in a while you are apt to receive a red sable rig- 
ger that is defective. This is usually caused in binding 
and cementing the hairs into the ferrule of the brush in 
a crooked, uneven manner. In cases of this kind, it is dif- 
ficult to secure a straight edge. The best way to treat 
brushes of this nature is to place a drop of shellac at the 

23 



24 



DAILY'S SHOWCARD WRITING SYSTEM 




Fig. 44 — Use of Initial Panel for Embellishing 



he fToLuers that 
bloom in the 

Kaue nothing to do 
unth these 



flat 



<y 



Fig. 45 — Another Initial Panel 

end of the ferrule and hold the brush in a flat position un- 
til it thoroughly sets. See that none of the shellac gets 
near the end of the hairs, as it is apt to spoil the brush. 

If your brush contains but a slight defect, it can prob- 
ably be treated in this manner: dip it into a bottle of 
mucilage and then flatten it into shape with the fingers 
until it becomes thoroughly set. Leave it in this position 
for three or four days, then soak the mucilage out in 
water and it will retain the shape into which you have 
formed it. 

Treatment of Fluid 

In preparing for practice follow the instructions for 
holding pen and chiseling brush as thoroughly explained 
in lesson No. 1. 

If you are using a prepared writing fluid for the pen 
work, remember that this should be thinned. Two parts 
of the prepared writing fluid mixed with one part of 
water is usually the proper consistency for good pen 
work. 

Some card writers use the prepared writing fluid thin- 




Fig. 46— Pen Work With Flat-Brush Script Alphabet 

ned down for all outline letters, such as the Romans, and 
for fill-in work they use the pure fluid. This is done to 
gain rapidity, as one can work faster on the outline work 
with a thin fluid, and the faster one is capable of making 
good lines, the straighter and cleaner-cut work will re- 
sult. 

Learn the Formation 

Before beginning actual practice on any new letter, it 
is best to hold a dry pen over the copy and follow the 
strokes, altering every part of the pen point to touch the 
paper, no matter how thin the stroke may be. 

After you have once secured a thorough formation of 
this letter, with the pen, the brush work will be an easy 
matter. 

The beginner in using the flat-brush work should flatten 
or chisel his brush on the glass after each second stroke, 
as this works the color thoroughly into the hairs and re- 
moves the surplus paint from the outside. 



DAILY'S SHOWCARD WRITING SYSTEM 



25 



Use Considerable Pressure 

In making broad lines with the pen you will have to 
use considerable pressure, especially when the pen is new 
and stiff. However, you will with practice soon learn 
how to graduate the pressure, just as one learns with an 
ordinary pen. Nevertheless, you will always find that 
you must bear down harder on these pens than on the 
ordinary writing pen, as these stub pens contain a great 
deal less elasticity. 

The word "Hats" makes an excellent word for prac- 
tice, as each letter it contains is differently formed. 

Initial Panel Embellishments 

The accompanying showcards, Figures 4 4and 45, 
show the use of initial panels in embellishing the show- 
card. These ornaments are very practical for showcard 
use, because they do not consume a great deal of the 



card writer's time. All that is necessary for the card 
writer to do is to cut out a stock panel which can be se- 
cured at a very small figure, and use this at the beginning 
of his sentences. This, however, is clearly illustrated in 
the figures just mentioned. 

Each of the accompanying cards, Figures 44, 45 and 46, 
shows the use of pen work in combination with the flat 
brush script alphabet we herewith describe. This pen 
work has all been explained in previous lessons. 

Our cut No. 47 shows a number of stock panel designs 
made especially for showcard writing purposes. These 
embellishments have an advantage in the fact that they 
add color to the card and have a tendency to draw the eye 
to the beginning of the sentences ; at the same time they 
give a great deal more dignified appearance than the 
gaudy scroll work and floral embellishments. 



lhe 

Very 'Best 

cosl vou but 
a trifle more. 













A little in advance 
or me season 

Out the advantage 
is in your ravor. 











Showcards Illustrating Alphabet Shown in Lesson 2 and Giving a Different Layout from 

Figs. 9 and 10 





B 


C 




r 


G 




as 







7M 





Fig. 47 — Stock Panel Designs Made for Showcard Work 



A B CDEF GH I 

JKLMNOP Q 
RSTUVWXY 
Z123456789 



Fig. 52 — Double Stroke Egyptian Alphabet 

LESSON NO, 1(D) 

ILLUSTRATING THE DOUBLE STROKE EGYPTIAN ALPHABET ESPECIALLY SUITABLE FOR 
SALE SHOWCARDS — HOW TO COMBINE YOUR ADVERTISING WITH SHOWCARD WRITING 

IN this lesson we show what is known as the double on this point, as it will be of great advantage to him if 

stroke Egyptian Alphabet (Figure 52). This is a very the outlines are made correctly in this respect, 

good alphabet for headline work and is quickly made The Spurs 

when the construction is firmly fixed in the mind. It The spurs may be used or not as suits the taste of the 

also has a further advantage of being easily read, and painter. These little embellishments will give the letter 

when neatly finished and executed it can be used for high- a more finished appearance, and it is advisable to use 

class showcard lettering. The execution is the same as in them until you become an expert with this letter, as these 

our previous lesson, excepting that the guide lines are ornamentations have a tendency to hide the amateurish 

two inches apart and the thick part of the lettering is defects to some extent. 

done with two strokes of the brush. The spurs and the Never allow the letters to touch one another. How- 
thin portion of each letter are made with one stroke. ever, there should be a difference in the spacing of some 
This same alphabet may be finished with a pointed of these letters. Two round letters coming together, 
spur if desired and with the more finished work it is such as "O O," having no spurs, may be allowed to al- 
worth the extra effort. This forms one of the most pleas- most touch each other without having the appearance of 
ing display alphabets known for quick execution and will doing so, while such letters as "J E," placed side by side, 
be found useful on many occasions, especially for sale produce the effect of being closer together than they 
showcards. really are. 

Practice Work Study Each Letter Well 

The student in practicing this outline work should Work on each letter separately until you are familiar 

make an effort to develop his ability to carry these lines with it before attempting others. It is necessary to fol- 

parallel and at the same time maintain uniformity in the low the instructions as closely as possible. This lesson 

width of the stroke. plate was originally laid out on a card 14 x 22 inches. It 

We advise the student to devote much time to practice is necessary to become thoroughly familiar with each let- 

26 



DAILY'S SHOWCARD WRITING SYSTEM 



27 



ter and endeavor on each subsequent trial to show a 
marked improvement on former attempts. Do not con- 
sider this lesson learned even though the completed plate 





Special 
Sale 

SII^K 

HOSE 

85 





Fig. 53 — Double Stroke Egyptian Alphabet 

is executed in a satisfactory manner. This is a time to 
begin forming words and laying out small cards and signs 
such as the ones illustrated with this lesson. 

The Illustrated Cards 

Our illustrated cards are especially suitable for sale 
purposes. 

The card, Figure 54, shows the use of the Egyptian 
double stroke alphabet in headline July Sale. 

Figure 53 shows the alphaget used in the words "Silk 
Hose" and Figure 55 shows the alphabet used in the 
words "As Advertised." 

The remaining part of the letters on each of these cards 
was done with the Hunt and the Mammoth writing pen 
which was described in the previous lesson. 

These cards are all done on a half sheet size 14 x 22 
inches. Lettering in black on a white ground. 

Combining Showcard Writing With Advertising 

One of the very best forms of co-operative store adver- 
tisements may be secured by displaying the bargains in 
the window at the time they are advertised in the papers. 



"Seeing is believing" with most people, and this plan 
brings the advertised goods directly before the public. 
However, in many cases it is not convenient to place ad- 
vertised goods in the window on account of limited 
quantity, bulkiness, etc. This opens an opportunity for 
the showcard artist to combine the advertising with his 
interior showcards in the following way : All interior 
cards that are placed on the advertised goods should be 
boldly worded, "As Advertised," "Advertised by Us," 
or wording with a similar meaning. To forcibly bring 
this point to the attention of your customers it is a good 
scheme to clip the announcement referring to the goods 
advertised from the newspaper and paste it upon the 
card. 

This plan also increases interest in the merchandise 
you advertise, and many times refreshes the memory of 
the person who has read your ad, recalling to mind the 
things stated and arousing the curiosity of the one who 
has not seen the advertisement. 

Our card No. 55 illustrates how the showcard writer 
may assist with the general publicity of the store by 
combining his advertising with the showcard work. You 



JULY SALE 

t/y */■%> */v * 2°-2<p*6«x. 

Soft-Cuff- Shirts 




Fig. 54 — Another Use of the Illustrated Alphabet 

will notice that in this case the ad is placed in one corner 
and arrows forciblv call attention to the idea. 



Serge Suits 




^^OOku 



AS 



Advertised 



Fig. 55 — Combining Advertising With Showcard Writing 



ABCDEFGHIJKLM 
NOPQRSTUVWXYZ 



opqrstuvwxYz& 



Alphabet by Air-Brush Method Especially Adapted to Headlines 



LESSON NOo 11 



EXPLAINING THE USE OF THE AIR-BRUSH — REPRODUCING AN EXCELLENT 
AIR-BRUSH ALPHABET — SUGGESTIONS FOR AIR-BRUSH BORDER WORK 



WITHOUT doubt the most beautiful showcards of 
today are made with the air-brush, as with this 
little instrument one can produce letters and bor- 
ders that appear as if they were embossed or raised in re- 
lief from the card. Other artistic and varied effects can 
be secured by using this brush for shading, which brings 
out the letter against a strong, rich background. These 
brushes were originally intended for the use of photog- 
raphers and artists only, but in recent years they have 
been put to various uses such as showcard work, tinting 
jewelry, ostrich plumes, ribbon and similar lines. 

Cost and Uses of the Air-Brush 
For showcard use the variety of pleasing effects se- 
cured with this little instrument are unlimited, which 
you will readily understand as this lesson progresses. 
However, there are many showcard writers throughout 
the country who are unable to give this work much con- 
sideration because of the initial cost of the outfit, which 
is from $25 up. This first cost is practically the only one, 
however, as the inks required for air-brush use are just 
as reasonable as the ordinary showcard paint. 

It is not our intention in this article to go into details 
regarding the mechanism, construction and handling of 
the brush, as complete instructions come in pamphlet 
form with each brush sold. 

For the uninitiated, however, it may be said that the 
simplest outfit consists of a compressed air tank, foot- 
power pump and pencil-shaped instrument, through 
28 



which the air and paint are forced. The most modern 
form of using the air-brush is by utilizing a liquid gas, 
such as used in soda fountains. A tank of this gas can 
be bought for very little money, and it lasts a long time 
for this purpose. 

The flow of your gas or air can be regulated so as to 
produce effects from a fine hairline to a broad spray. 
This is regulated and controlled by a little lever on top 
of the brush, which can be gradually operated so as to 
produce a perfect blend. 

Every up-to-date city showcard shop does air-brush 
work. Where a quantity of single cards are wanted they 
can be turned out from a pattern very rapidly. They 
are also indispensable for the window^ trimmer, enabling 
him to produce beautiful colorings for background and 
relief effects. With this brush the surface to be covered 
does not necessarily have to be smooth, as the point of 
the brush does not come in contact with the surface. 

Good Headline Alphabet 

The alphabet accompanying this article (Figure 48) is 
excellent for headline work, bringing certain words out 
boldly on a card that will catch and compel attention. 
This scheme should be used on cards in which a number 
of words are employed, as this not only has a tendency 
more quickly to catch the eye, but gives the general lay- 
out of the card a more graceful appearance. 

This alphabet is not what might be classed as an orna- 
mental letter, but the air-brush makes it such — in fact, it 



DAILY'S SHOWCARD WRITING SYSTEM 



29 



is practically the same alphabet illustrated in Lessons 
No. 5 and No. 8, with the exception that the connecting 
strokes are somewhat heavier. The letter is first painted 
in with a common red sable brush, No. 12, and then 
shaded with the air-brush. 

Forming of Letters and Borders 
The letters in this alphabet may be painted in either 
red, green, grey or practically any color following the 
instructions given in Lessons No. 5 and No. 8. The re- 
lief effect is secured by spraying with the air-brush, in 
black ink around the lower and right-hand sides of the 
letter, allowing the spray to go over into the letter and 
blending it out into the white background. The repro- 
duction here shown gives these beautiful air-brush letters 
scant justice. In order to secure the best relief effect 
with a letter of this kind the letter must be of a color not 
too dark to hide the black which is sprayed on to it. 




Fig. 50 — Air-Brush Used Inside of Border 

The air-brush is especially suitable for effective border 
work. This work is shown on the accompanying show- 
cards, Figures 49, 50 and 51. We will first describe how 
the air-brush mask for a card like Figure 50 is made. 

You first cut out a mat of cardboard which will cover 
the entire portion of the card with the exception of about 
an inch around the edge. This can be cut into the desired 
shape or scroll. This mask is then placed over your card 
and then you are ready for the air-brush work on the 
border. The spray is simply thrown on to the card, after 
which the mask is lifted. This gives the effect as shown 
in Figure 49. 

In order to give you a suggestion for air-brush practice 
work we will state that all of the original sizes of the 



reproduced showcards accompanying this article were 
quarter-sheet (11 x 14). 

Our card Figure 50 shows a well-laid-out card, which 
gives exactly the opposite effect of our Figure 49. This 



<7n these. 



Shirts 



c 



c oco/zo/7u / aiw£ 



Fig. 49 — Air-Brush Spray Thrown Outside of Border 

is secured by using the mask around the border instead 
of the center of the card. The air-brush is sprayed around 
the inside of this mask. All of the showcards exhibit the 
use of the illustrated air-brush alphabet for headline 
work. The original color used for this alphabet and show- 
cards is green ; that is, the letters were first painted in 
green and were then sprayed in black with the air-brush 
to give the relief effect. 

Reproducing the Trade-Mark 

Air-brush work can be utilized to good advantage in 
forming a trade-mark on a card, as one mask can be used 
over and over again and will answer for making hun- 
dreds of reproductions. Our card Figure 51 shows an- 
other excellent border design, and by studying each of 
the accompanying showcards you will readily understand 
how one cut-out mask will answer for securing two 
effects. 



Straws 



{7n a// /Ac rtew 



J i 



Fig. 51 — Another Air-Brush Shaded Border 



a^ 6<D <E<t0&L IdM. Q VCi 

R O <P QQ90T u^ hjqc y <?- 

— l<-2«34567§90 — 
abcdefgh.ijk.lrn no 
p q r s 1 u u m x y ■?- $$-1il 



Pen Alphabet, Combining Roman and Old English Styles 



LESSON NO c E 



USE OF PRICE TICKETS ADVOCATED— ILLUSTRATING THE PEN ALPHABET, 
ORIGINAL STYLE — UTILIZING PASTED ILLUSTRATION ON SHOWCARD 



FOR a general window display the progressive mer- 
chant of today advocates the use of price tickets. 
But for occasions such as Autumn openings it is 
well to dispense with them so as to give the window more 
tone and character at a time when it is most needed from 
an advertising standpoint. The average window display, 
however, never ought to go unpriced, as price tickets are 
too good an advertisement. So many people see them, 
and the little bits of pasteboard are talking salesmen. 
The only exception to this rule is when merchandise is of 
extra character and quality, and the showing is used more 
as a means of attracting attention than for making direct 
sales. 

The Alphabet 
The alphabet we illustrate in this issue is an original 
one made with the Hunt pen. It is a combination of 
Roman, script and a touch of Old English. The letters 
are unusual and, in fact, they are designed in an artistic, 
eccentric style. Such letters as the capitals B, P, R and 
X are made in the opposite proportions from the usual 
rule in the execution of the regular Roman style. The 
same idea is carried out in the numerals. 

The tops of the 2, 3 and 8 are made larger than the 
30 



bottoms. In making this alphabet the pen is held so 
that the nibs are on an angle of forty-five degrees to the 
guide lines. In this position the penholder should be 
pointing slightly away from the right shoulder through- 
out the entire execution of the work. Practice the top 
and right strokes of the capitals A, M, N and the lower 
case a, m, n and g, which will give a good idea for hold- 
ing the pen in doing this work effectively. 

This style of letter is rapidly executed, and the long, 
graceful down strokes are easily made. The work is 
graceful enough for the best class of cards and prominent 
enough for the average display card. 

If you use this style of card throughout your opening 

displays, or for a certain period, it will have a tendency to 
give your work an individuality which will stand out 
prominently when compared with other work of the same 
character in your city. The work is all executed with the 
Hunt pen which was commented upon in our previous 
articles. 

Remarks for Practice 

The man who calls himself a store card-writer, is hard- 
ly proficient unless he has mastered at least one good 



DAILY'S SHOWCARD WRITING SYSTEM 



31 



rapid single stroke alphabet. In fact, a man who is called 
upon to make from two hundred to five hundred show- 
cards and price-tickets in a day, as is often the case in 
large department stores, cannot expect to hold this posi- 
tion unless he can get his work out on time, and this is 
only possible with a quick single stroke alphabet. 

Advice to Beginners 

Following are a few remarks of special value to be- 
ginners : 

In first trying a new alphabet, work slowly in order to 
form well in your mind the different sections of the letter. 
By taking pains at first, one will gradually develop a 
graceful work and the necessary speed. 

Continued practice and pains are the chief requirement 
for the successful showcard work. 

By all means stick to one style of single stroke letter 
until you have it in good control. First practice the capi- 



tals, then the lower case, and finally the figures. Jumping 
from one style of letter to another will hamper your 
progress, unless you have mastered the foundation and 
fundamental strokes. 

Copy the work of others at first. You will then be able 
to form a style of your own. 

The Illustrated Cards 

The cards here illustrated all show the use of the ac- 
companying alphabet. These were executed on quarter 
sheets, size eleven by fourteen inches. In this case you 
will notice that the accompanying alphabet is used both 
for headline purposes and for body work. 

Each card is illustrated with a design cut from adver- 
tising pages of The Haberdasher. This gives you an 
idea of the advantage offered in making excellent show- 
cards for window displays and other merchandising pur- 
poses. 




Up to oixr necks 
in neiu sprincx 



Qollavs 



^Jujo for 



25 



6Wir. 



Hunt Pen Alphabet in Headline and Body Work 




( 7 / t / e~6oio our~- 
uselco/ne to lAese. ■ 

Rem 

Strains 



CromfL) and (porrect 

Golf 

Shirts 



^ct to a z/e 



'ee 




Effective Simplicity 



Pasted Illustration Used on Show-Card 




(?ot 1/Lm.e to- 

Look L 







iftfMUflMfclMltA 



Individuality 

O lamps the wearer 
^gf our (Ptothes* 



Figs. 1 and 2 — Illustrating Use of Panels With Hunt Pen and Flat-Brush Work 



LESSON NOo 13 



ILLUSTRATIONS CLIPPED FROM "THE HABERDASHER" EMPLOYED . 
—USING ALPHABETS DESCRIBED IN PREVIOUS LESSONS — HOW 
CARDBOARD — STRIKING EFFECTS PRODUCED BY APPROPRIATE 



lS PANELS 
TO TINT 



THE showcards accompanying this article all illus- 
trate the use of pen and brush work described in 
previous lessons through the pages of The Haber- 
dasher. We wish particularly to call your attention to 
the use of the illustrated panels shown in each card repro- 
duced. The panels were all cut from the advertising and 
editorial pages of The Haberdasher and suggest five of 
the many ways in which designs of this character may 
be effectively used to embellish your showcards and make 
them more artistic. 

Figure 1 shows another appropriate use of the panel 
in the upper part of the card. The decorative treatment, 
however, is not at all like Figure 2. The lettering on this 
card was all done with a Hunt pen, showing the use of 
both the upright and slanting Roman letter. 

Figure 3 shows an illustrated panel used on the left of 
the card and mounted in a ruled border. The lettering on 
this card shows the combination of Hunt and Payzant 
pen work. 

All of the cards accompanying this article were made 
on white background, quarter-sheet, in size 11 x 14 inches. 
Use of Japanese Lettering 

Figure 4 shows two unique panel designs which are 
also taken from the advertising pages of The Haber- 
dasher. The lettering is made to conform with the de- 
sign, which is of the Japanese character. This letter was 
done in grey outline with a black margin. While we 
advocate the use of black and white letters for general 
use, occasionally a grey or colored letter will carry out a 
decorative effect to better advantage. A showcard such 
as the one illustrated in Figure 4 could be made still more 
effective by lettering it on cream Japanese paper, mount- 
32 



ing half round moulding at both upper and lower portions 
of the card, and thus allowing the base of moulding to 
project about a half inch beyond the paper. In other 
words, it produces showcards in the form of a Japanese 
hanger. 

Tinting Cardboard 

Figure 5 illustrates the use of panel design in the lower 
part of the card and also the use of combination mam- 
moth pen and Hunt pen work. The body of this card 
has been tinted green, giving a pastel tone to the back- 
ground. The tinting of showcards is an effect that is 
very puzzling to the novice, but one that is very simple 
after it is explained. 

Tinting cardboard is a background effect secured by 
the blending of proper colors, and this can be quickly 
done. The necessary material for this is dry mineral 
paint, or common dry color in powdered forms, chalk or 
crayons. If crayons or chalk are used, it is first neces- 
sary to powder them. We would not advise the use of 
chalk or crayon except when it is impossible to secure the 
dry colors. These dry colors one should be able to secure 
from your local paint store. 

Applying the Color 

After you have secured the necessary colors, select a 
few pieces of cloth from five to six inches square. Double 
thicknesses in cheese cloth or common muslin will an- 
swer. Now place each color in a separate cloth and tie 
up in the form of a bag. Another way more commonly 
used is as follows : Instead of making a pounce bag of 
each color, have an assortment of small boxes, each con- 
taining a different color. Use a small piece of cotton 
batting pressed in ball shape, one for each color. Dip 



DAILY'S SHOWCARD WRITING SYSTEM 



33 



The best article to use in removing finger marks is art 
gum. 



the ball in the powder and rub lightly over the desired against the edge of the card. By this method your fingers 
space on the card. Before applying the color to the card, will not come in contact with the surface of the card, 
shake the ball lightly so that the powder will not cling too 
heavily. Bear in mind that this is a tint and the powder 
must be placed lightly. 

Very pretty show-card effects can be secured by using 
more than one color, in which case it is always best to 
blend the colors into each other, using care that each 
color used is in perfect harmony with the one next to it. 

A pretty effect can be obtained by starting in the center 
of the cardboard with a dark color and shading out into 
white on the edges. A very striking design can be made 
by circular rainbow effects. 

When in doubt regarding the placing of colors, take 
the rainbow as your guide. An easy way to remember 




(Fold weather 

IS IPO/7U/2JJ . 



gold 

TVeather 

Glothes 



S/fre here. 



Fig. 3 — Combination of Sonnecken and Payzant Pen Work 

the colors of the rainbow is to keep in mind the word, 
"vibgor." The first letter of each color consecutively is 
represented in this word : v for violet, i for indigo, b for 
blue, g for green, and so on. 

Utilizing Soiled Board 

Of the many ways of producing effective backgrounds 
for cards, the foregoing is the simplest, quickest and 
cheapest. Often a soiled card can be saved by tinting 
the soiled parts. Many a slightly soiled card is cast into 
the waste basket on account of blots, dirt or finger marks, 
that can be easily saved by originating some design to 
cover the soiled part in tinting. While we are on the 
subject, it would be well to give a few remarks regarding 
the handling of showcards, a minor point, but one of 
importance. 

Some card writers with not very clean hands often pick 
up a card along the margin and in so doing leave unsight- 
ly finger marks. This is an item that will not be tolerated 
in sign shops, because if a card is the least bit soiled the 
customer will not take it. The proper way to pick up a 
card is to use both hands and press the tips of the fingers 




Fig. A — Pasted Panel Designs With Harmonious Lettering 

Use of Patterns 

Many novel and striking effects can be secured on the 
showcard background by the use of patterns. For ex- 
ample we will take a star. Cut a pattern of a star the 
desired place and rub the color bag over the edges, 
blending the colors light to the edge. Remove the pat- 
tern, shake off the surplus powder, and the result is that 
you have a design on the card identical with the pattern. 

By a little experimenting, the reader will be able to 
originate many new and clever designs to conform with 
the season, such as Autumn leaves for Fall, turkeys in 
silhouette for Thanksgiving, holly for Christmas, eggs 
for Easter, etc. 




Fig. 5 — Green Tinting Used as Background for Lettering 





Fig. 1 



Fig. 2 



LESSON NO. 14 

SPECIAL DESIGNS FOR XMAS WORK— QUICK ILLUSTRATIONS 



WHILE we always recommend plain black and 
white showcards, well and quickly executed for 
store use, at the same time displays for featuring 
some style event, such as opening of the seasons, holi- 
days, etc., require a card that is on a par with the display 
and merchandise, in order to make and leave a favorable 
and harmonious impression of the trim when judged as 
a whole. Opening and special occasion displays tax a 
trimmer's very best efforts in his work, in order to secure 
something out of the ordinary. Place a crude card in a 
merchandise showing of this character and you have 
ruined an otherwise beautiful effect. 

By an artistic card we do not necessarily mean one 
that requires much time in lettering or one in which much 
scroll work or color is employed, but rather a neatly laid 
out card using a good, plain, artistic letter. 

Regarding Cardboard 

The selection of cardboard plays an important part in 
successful showcard writing. For Sonnecken or Pay- 
zant pen use never select a board with a hard, glazed or 
glossy finish, as there is nothing in the glazed surface for 
the ink to readily adhere to. This will make good work 
with the pen impossible. 

For pen work always select a board with a soft, unfin- 
ished appearance. As before stated, for general show- 
card use we recommend a plain, white card in black 
letters. 

Colored cardboard can be used on certain occasions 
with telling effect, especially during the holiday period. 
Showcard cardboard manufactured especially for show- 
card work comes in great variety of colors, as well as a 
number of finishes, such as a coated stock or a pebbled 
surface. The opposite side of most cardboards has a dull 
34 



finish, which provides an excellent surface for pen letter- 
ing. 

Copy Good Signs 

It is advisable to examine and try to copy good signs 
embodying a certain style of letter which meets with 
your favor. In this way you will also acquaint yourself 
more thoroughly with the letter and will soon be able 
to originate. 

Great care must be taken that the lines and letters are 
well laid out ; otherwise the card may have each indi- 
vidual letter correct in construction, but if the spacing is 
defective it is sure to mar the general appearance. 

The description of the following cards should prove of 
interest and value to everyone interested in showcard 
work. 

Our Figure 1 shows a half-sheet card. The original 
was lettered on a brown, pebbled mat surface. All the 
lettering was made with a Roman letter in white, using 
the double stroke alphabet. The embellishments, which 
consist of a scroll and a chimney, were treated in black 
and white. This is a very simple, yet seasonable, em- 
bellishment and one which is, therefore, appropriate for 
showcard writing use. 

Never place a drawing on the showcard, which requires 
an unusual length of time in its execution, because de- 
signs of this kind are not practical for showcard writing 
purposes on account of the time entailed. 

Figure 2 illustrates another simple design, very much 
on the order of illustration No. 1. This original design 
was placed on a tan, pebbled mat board with all line 
work made in black and white. The body of the words 
"Smoking" and "Jacket" were made with a single stroke 
letter in white ink, after which it was outlined with a 
pointed brush in black. 



DAILY'S SHOWCARD WRITING SYSTEM 



35 



Special attention is called to the excellent layout in 
this design. This is also a half-sheet, size 14 by 22 
inches. 

Our Figure 3 is also a half-sheet card done on a peb- 
bled blue mat surface. The illustration is very simple 
in its execution, which makes it especially practical and 
appropriate for Christmas use. The lettering is made 
with both brush and pen work in black, with the excep- 
tion of the initial letter, which had a red body outlined 
in white. 

These three half-sheet designs offer excellent sugges- 
tions for practice copy work. 



Figure 4 was made on cardboard, the front of which 
was mounted with imitation wood grain paper in brown 
color. The lettering was done in white, outlined in 
orange in the right-hand lower corner of the card, and 
embossed paper holly embellishment is used to add to 
the seasonable suggestion. 

Figure 5 shows another imitation wood grain back- 
ground in tan. The lettering was originally done in 
green, outlined in black with the exception of the word 
"Gift," which was entirely in black. Another embossed 
holly decoration is used in the upper left-hand corner. 
It is in color and on glazed paper, so lends a bright 
touch. 





he Stor 

1 C " R J» 



Fig. 3 




Fig. 4 




Fig. 5 





idwinter 
oderately 




0rchandi.se 
arKG 



LESSON N0 li 



1LLUS 
SHO 



iflNG AND : 
WRITING— S 



THE USE OF THE 
OF THE ILLUSTRATED 



BRUSH IN 
IOWCARDS 



IN our previous lessons we have touched to some ex- 
tent on the use of the air-brush in the making of alpha- 
bets. With this article we give further information 
of value to those who possess or contemplate purchasing 
one of these devices. The first thing to remember is that 
it is absolutely necessary to keep the air-brush clean for 
perfect results. Keep all colors free from dust and sedi- 
ment. In case you have trouble with any of your air- 
brush colors, it is advisable to strain them through a fine 
piece of muslin. This will have a tendency to take away 
the sediment which clogs the brush. A sputtery spray is 
often the result of the dirt in the color or brush. Im- 
proper adjustment of the tip is another thing that must 
be guarded against. Color used too heavily will give the 
work the appearance of a dirty spray. 

Hints on Air-Brush Work 

Color of any kind should never be allowed to dry in 
the air-brush cup, as this will eventually clog the passage 
to the cup. Fill the cup with water occasionally, if water 
colors are used, or with alcohol if spirit colors are used, 
and place the finger over the tip of the brush and blow 
the air back through the color passage. This will help 
to clear it of all accumulating matter. 

In doing air-brush work on showcards it is well to 
remember that it is not the quantity applied to the card 
that gives the best results, but the putting of the right 
amount of work in delicate shades, observing your high 
lights and shades that produce the required effect. Air- 
brush work should not be so strong on the card that it 
predominates. It is a good rule to remember in doing 
air-brush work to try out the brush on a small piece of 
paper or cardboard before proceeding with the different 
36 



parts of the work. By this method, in case there is any 
sputter or spray of the color sideways, this may be de- 
tected in time ; otherwise your work is apt to be ruined. 

Cost of Outfit Moderate 

The modern air-brush outfit consists of the brush and 
the regularly gauged liquid carbonic gas tank. All that 
is necessary for you to purchase is the gauge. The gas 
tank may be borrowed from the manufacturers from 
whom you purchase the gas. After your drum is empty, 
it can then be returned, and it will be replaced by the 
manufacturers with a full tank. A good air-brush may 
be obtained as low as $10 ; the prices will range as high 
as $35 to $40, which depends on the grade of work you 
expect to accomplish. 

For the average general store showcard work, a $12 
to $25 brush will answer every requirement and should 
last for many years with the proper care. The carbonic 
gas tank is recommended because it gives an even, steady 
pressure, and the clean, dry gas is always ready for your 
use. The cost of maintenance is comparatively small — - 
but a few cents a day will cover the cost of using the gas 
three or four hours. 

Manipulating the Brush 

One thing that you should remember in the manipulat- 
ing of the brush is not to sweep back and forth with the 
instrument. The best method is to point the brush at the 
figure or line desired, and move from left to right. When 
you have reached the extreme right, throw off the spray 
and start at the left. By this method the shading will be 
more uniform throughout. 

In using the brush it is well to remember that the far- 
ther you hold the brush away from your subject, the 



DAILY'S SHOWCARD WRITING SYSTEM 



37 



more color can be applied. The shorter the distance, the 
less color should be allowed to flow. 

The working pressure of the air-brush is from twelve 
to fifteen pounds. If the color does not flow freely at 
this pressure, do not increase but look for trouble in the 
brush. Either the needle clogs or the air passage is not 
free. It is a good idea to wash the brush out occasionally. 
A solution of sal soda and hot water passed through the 
brush will have a tendency to get away the dry color that 
might have accumulated. 

Regarding Stencils 

As much care should be exercised in selecting your 
stencil air-brush designs as in the selecting of other illus- 
trated matter for your showcard. Always try to have 
these decorations carry the impression of the seasons, 
occasions or some special event. By this method in your 
selection you will be able to create a greater interest in 
the showcards and to the merchandise you display. 

Ideas for stencils can be secured from many sources. 
We suggest that you study the advertising pages of 
magazines and trade papers for stencil subjects. With a 



little thought and study you will find that many prac- 
tical ideas may be obtained from this source. Many of 
them, however, will have to be simplified, to suit your 
particular need. 

Treating the Air-Brush Stencil 

In using the air-brush for landscape effects it is a good 
rule to use light, mellow tones for sunlight effects and 
blue and purple tones for shades. For cool, shadowed 
effects, tones of blue and green are desirable. 

Strive for mellowness in your air-brush work. Study 
the effect of applying one color over another. This will 
help you when any part has become too strong. 

A thorough knowledge of colors is essential for good 
air-brush work, and with a thorough understanding of 
complimentary colors, as well as related color harmony, 
you will be able to obtain a much more artistic effect. 

For quick work there is nothing like tan, grey, brown 
and dull green cardboard, using the colors brown, yellow 
and black, working your design in self colors, either using 
a darker color than the background board or a lighter 
color as the case may require. 





M-arvesleci 




38 



DAILY'S SHOWCARD WRITING SYSTEM 



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Two Useful Devices That Facilitate Showcard Writing 



A HANDY method for laying out copy for standard 
cards is here suggested which is adaptable either to 
■ pen or brush work or a combination of both. In 
order to make these masks you must first accurately lay 
out the dimensions on a card, preferably on eight- or ten- 
ply stock. It is suggested to ink all the dimensions in in- 
delible ink previous to cutting out. 

The portions of the illustration which are marked in 
heavy solid black stripes indicate the part of the card 
which is to be cut away. Now by placing this mask over 
the cards to be laid out you may mark the number of lines 
necessary to fit your copy. The narrower openings sug- 
gest the widths desired for small pen lettering. If the 
card requires only a few words use only lines required 
for the proper height ; as an example, if only the words 
"men's suits" is wanted on the card, mark the lines in the 
center at the proper distance off with a pencil through 
the mask on original card, using the corresponding num- 
bers on each side of the center to give the proper balanced 
lay-out. 

The upright lines are for gauging the length of the 
words, using the numbers to balance the wording on the 



card. By having these masks ready cut and in a handy 
position you will be able to proportion your cards prop- 
erly and quickly and saving much valuable time. Masks, 
both landscape and portrait, for half sheets are here 
shown. For quarter sheet cards lay out the masks in 
exactly the same way according to the following meas- 
urements : Quarter sheet landscape, 11 x 14, outside bor- 
ders, 1^4 inches, inside border on sides ^4 inches, inside 
border top and bottom \ l / 2 inches, eight spaces are to be 
cut out, four above, four below the center of the card. 
These spaces and alternating white spaces are Y% inches 
wide. Quarter sheet portrait outside border \]A, inches, 
inside border on sides y inches, inside border top and 
bottom 24 inches. Spaces to be cut out alternating white 
space y$ inches wide. Eighth sheets show card mask 
landscape 7x11, outside border % inches, inside border 
sides Y\ inches, inside border top and bottom 1 inch, 
alternating spaces 34 inches wide. 

Eighth sheet portrait outside border % inches wide, 
inside border y% inches sides. Inside border top and 
bottom 1% inches wide, alternating spaces ^4 inches in 
width. 



Perfect Wonders!— These 

Men's Winter ) <tl1 ry r/-v 
Overcoats a 1 1 H 51 ' ou 

But Only 175 of Them! 

Patterned after a particularly good, 
new, winter Overcoat which we sell for 
$50; and with all the swing and style of 
the original. 

We found one of our good makers 
with more fine materials than he 
needed, and he had just finished these 
coats for us. 

In every respect they deserve to be 
sold for $25. 

STYLE — loose sleeves, flaring skirts, 
raglan shoulders. 

FABRICS— rough, soft weaves, in 
grays, browns, blues — tremendously 
smart. 

FINISH— piped seams, silk shoulder 
linings, splendid work throughout. 
Also: 
200 Heavy Chinchilla Overcoats at $17.50 

In blue or gray, excellently warm. Sizes 33 to 42. 

Silk-lined Chesterfield Overcoats at $17.50 

Medium weight, in black. Oxford or Cambridge gray. -Sizes 33 to 50. 

Men's Winter Suits at $17.50 

A fine lot. in many shades of brown, blue, Oxford gray, striped effects 
and mixtures. Sizes 34 to 50. Fourth Floor 





^/Idvevhsed 



Sale \ 
Oizli/ J 



Qbdayj 



s 



17 5C 



Linking Up the Advertising With the Window Card 



LESSON NO. 16 



WHY THE ADVERTISING, THE W 
TO WORK TOGETHER— EXAMPLE! 



TS AND THE SHOWCARD SHOULD BE MADE 
OF ADVERTISING AND SHOWCARD 



THE most satisfying publicity results can be 
achieved by a harmonious union of the store forces. 
Co-operation is absolutely necessary to bring suc- 
cess with a certainty. One kind of store advertisement, if 
of the right character, has a tendency to strengthen the 
others, and the combined influence is bound to arouse 
more than ordinary interest. 

In many cases the buying public of today are greatly 
imposed upon by advertising writers who greatly exag- 
gerate in their announcements. This practice has caused 
many people to intuitively distrust much of the present 
daily newspaper advertising and, in some cases, no doubt, 
their grounds for distrust are justifiable. People who 
have been disappointed in this way have a tendency to 
regard all newspaper advertising with distrust unless ex- 
perience has taught them to place explicit confidence in 
certain announcements. 

Business can be promoted by careful advertising, and 
announcements that are sincere and simple, free from 
excessive exaggeration, will in time win an appreciative 
audience. 

Any detail, no matter how trivial, that will assist in 
winning this confidence and patronage should not be over- 
looked. It is the idea of this lesson to suggest a forcible 
idea in which the showcards can be made to strengthen 
the statements of the newspaper advertisements. 



A great number of shops display the merchandise in 
the window at the same time that it is advertised in the 
paper. This plan has a tendency to more forcibly bring 
the advertised goods before the prospective purchasers. 

Whenever it is not advisable to place the goods in the 
window because of their limited quantity or bulkiness, 
cards similar to those illustrated are used in combination 
with an interior display. It is advisable to clip the news: 
paper advertisement and paste it on the card. 

In order to bring satisfactory results by this plan the 
merits of the merchandise must correspond with the state- 
ment of the ads, thus proving the statements in the ad- 
vertisement. 

In this way each of the announcements stands as a chal- 
lenge as to the honesty of your advertisement or goods, 
and if your statements are truthful, this is bound to leave 
the favorable impression with your customer that there 
is no misrepresentation about your announcements and 
that you are sincere in your advertising. By standing 
back of your store's advertising in this manner, you will 
help establish public faith in the statements and also in- 
crease interest in the merchandise you advertise. 

This plan also increases interest in the merchandise 
you advertise, and many times refreshes the memory of 
the person who has read your ad, recalling to mind the 

39 



40 



DAILY'S SHOWCARD WRITING SYSTEM 



things stated and arousing the curiosity of the one who the aid of the embellishment illustrated ; in fact, the 
has not seen the advertisement. newspaper ad accompanied with appropriate wording will 

In order to put this plan into operation the adman 
should give the card writer a synopsis of his advertise- 




As 
Advertised 



ment as soon as possible so as to enable him to work 
ahead and be ready with the cards on the opening of the 
sale. The described and illustrated cards show examples 
of this practice in use. 

The illustrated cards were done in black on a white 
background. Not a great deal of attention is paid to the 
lettering of the cards, as they are more of a special sale 
order requiring fast work. 

In each case you will see that the newspaper ad is 
pasted in a conspicuous position on the card and atten- 
tion is called to the same with the aid of some sort of 
foreign embellishment. 

Cards of this kind will be almost as effective without 



<B 



e wise ! 



and your* 
blLL will 
be less. 







Men'i Hal. 
Special, M.SO 




make an effective card of this character. A hand with 
index finger is always an attractive feature for work of 
this kind, and we suggest that the card writer have a 
number of index patterns on hand so that he can readily 
place these in their proper position and fill them out with 
the brush. 




^e Guided 

&l/ ivAat we sais 

o - COATS 



-Men's 



Fine Overcoats 



$22. 



'Superb! j made, bril- 
liantly modeled and ex- 
quisitely finished, tbcj 
rise so far above Ibc 
average that it ia no 
exaggeration to say they 
occupy a place of men* 
among the world's best 
style offerings in Clothes 
for Men and Young Men. 
1i So that from a stand- 
point of actual clothes 
value and desirability, 
price and quality con- 
sidered, Brill Clothes are 
the very best "bay** in 
the world for the digni- 
fied man of affairs or the 
debonair youth of twenty- 
two. 



2Z 



(Regular^ 
tSO.'Value. 





Fig. 1 



Fig. 2 



LESSON NOo 17 

ILLUSTRATIONS AND DESCRIPTIONS OF UNUSUAL DECORATIVE EFFECTS 



RETAIL merchants recognize more and more that 
showcards are powerful weapons with which to 
gain trade. Some are so enthusiastic regarding 
their use as to claim better results than can be secured 
through newspaper advertising. While this may be true 
in some cases, yet the greatest publicity results can only 
be secured by judicious use of both. 

Showcards can bring results only from those who pass 
your store, while the newspaper will reach many who 
rarely pass. However, the daily passersby are the ones 
whose custom the merchant should strive hardest to se- 
cure, as they are the ones who are sure to give the most 
regular, and therefore the greatest patronage. 

The ideal showcard tells the daily store news in a clear, 
snappy way at a glance to the people who pass. It at- 
tracts them to the window display and tells the quality 
and price of the merchandise. It announces the changing 
styles, it notifies the onlooker of the approach of the 
seasons and suggests suitable merchandise. It heralds 
the arrival of new things in a more forcible way than the 
newspapers. 

Taking all these facts into consideration it is not to be 
wondered that the man who can write good cards and 
trim windows is always in demand. 

Occasionally it is advisable to use extra effort in your 
showcard writing to make them more decorative. This 
is especially true at the beginning of the season. The 
accompanying cards show- practical ideas of this char- 
acter. 

Card No. 1 is mahogany wood grain finish, which any 
card writer can make by the following method : 

Use an eight- or ten-ply coated white cardboard. Dis- 



solve about a teaspoonful of Bismarck brown in a tea- 
spoonful of wood alcohol and stir thoroughly. Then add 
from one to two teaspoonfuls of water, according to the 
depth of mahogany color desired. The solution is then 
applied to the card with a stiff brush, such as ox hair, 
bristle, or the like. In applying the color, the brush 
should be carried from end to end and the strokes should 
not overlap. The color is applied rather heavily to the 
card and then set to one side until thoroughly dry. A 
piece of cheesecloth is then used to polish the card. 

Card No. 2 is a clever method of obtaining a marble 
effect in white lettering on a dark card. A card that is 
best suited for this purpose is a dull black mat or hairy 
finished cardboard, one with a porous surface. Mix ani- 
line dyes, cutting them first with alcohol and then thin- 
ning with water. Such colors as red, yellow, blue and 
green are recommended. These are separately sprayed 
on the showcard by means of an air-brush in heavy fine 
lines, i. e., holding the air-brush very close to the card. 
These lines can be applied in parallels or can be sprayed 
promiscuously over the card. Then letter with white 
showcard paint with red sable showcard brush. The mo- 
ment the showcard color strikes the card it loosens up 
the aniline color which has previously been sprayed on 
with the air-brush and the two mixings give the marble 
effect as shown in this card. 

Card No. 3 will find high favor for its richness. The 
lettering is first carefully laid out with a pencil. Then 
with fine lining bronze, which has been mixed with mu- 
cilage and water, the lettering is carefully executed. Next 
outline the letters in white, lavender, or black, or any 
color that is best suited for the purpose. Then with a 

41 



42 



DAILY'S SHOWCARD WRITING SYSTEM 



perfectly clean brush and muscilage, the center of each compound can be originally tinted where the card writer 
letter is gone over and sprinkled with flitter, diamond or has not the air-brush, or it can be sprinkled with fine 
smalt as the occasion may demand. This style of work lining bronze before dry, or it can be tinted with an air- 
usually looks best on a showcard of dark tone. 

Showcard No. 4 shows the same style of lettering, but 
the work has been executed in an entirely different man- 
ner. This idea is entirely new and very little known to 
the average showcard writer. While the general effect 
is similar to that class of work that is known as relief, 
air-pencil or bulb work, the process bears no relation. 
After deciding on the style of letter desired, carefully 
lay it out with a "T" square between guide lines on a red 
or black cardboard of ten or twelve ply, preferably of 
a water-proof finish. The lettering is then cut on a bevel 





Fig. 4 

brush. This card has been further enhanced by shading 
with a clean brush and mucilage on the under and left 
side of each letter. 

Card No. 5 has been executed in precisely the same 
manner, but a different style of lettering has been used. 
In this card the lettering has been heavily air-brushed on 
the left and under side blending the shading deeply into 
the card, giving more depth and richness to it. If de- 



Fig. 3 

with a sharp mat knife. The bevel is wider on the under 
part than the top. This stencil is then laid on the show- 
card and fastened by means of thumb tacks or pins. 
Then mix plaster of paris with mucilage and water and 
a little glycerine to a rather thick consistency. If desired, 
moresco or any other relief compound can be substituted. 
The mixture should be of a heavy nature, but still not 
too thick. 

Then with a wide palette knife spread the compound 
over the stencil with one clean sweep. With a clean 
knife pick up all surplus, remove thumb tacks and raise 
stencil carefully and you will have as neat and clean 
raised lettering as you could desire. You can now read- 
ily understand the reason why the bevel should be wider 
on the bottom than it is on the top of the stencil so that 
in raising same it does not pick up the compound, but 
rather leaves the letters with a perfectly clean edge. The 




Fig. 5 

sired the top and right side of the letter can be finely 
touched up with a clean brush and white showcard ink, 
to give it further depth and contrast. 



1234567890 

Roman Numerals Executed With a No. 3 Script Brush, Then Filled In 




LESSON NOo la 



ILLUSTRATING THE USE OF PASTED EMBELLISHMENTS — PLAIN CARE' VS. THE ILLUSTRATED 



THE natural and general make-up of your window 
card is to be carefully considered. Not any "old 
thing" will answer for a modern window card. In 
these days of progress people's tastes are more active 
than formerly ; therefore any card not in good taste will 
surely fail in its object. 

! 





Spring 




- • •"> 


GIo\~es 


>** 


M 


S/c?///^ /?(//rc/. 


m 


^ 


si 6?5) 






1 ~ 





attention to it. Is this not equally true of the showcard, 
which is usually placed in the foreground of the display 
and is therefore the first object to command the attention 
of the passing public? 

One writer on this subject says : "Elaborate or expens- 
ive cards are uncalled for and are entirely out of place 
as a business proposition. Nothing - is so effective as a 
plainly written, neatly finished black-and-white card. Ar- 
tistic cards are not usually made to assist the display, but 
to advertise the maker or sign-writer." 

He further states that the object of the showcard is to 
tell the story or the price at a glance and it should be so 
made that it "may be read on the run." 

The real object of the showcard is to call attention to 





< 7 >//?<:>" //)/// 1 
cAc'jre. /it'///. 



cravat s 



Fig. 1 

It is better to use no card than to use one in bad taste. 
Endeavor to make your cards an attractive part of your 
window dressing and study their effect, that you may 
form some idea of their weakness or their strength. 

This will naturally bring up the old question : which is 
the kind of cards to use? Plain black on white or fancy 
illustrated cards? The modern trend in card writing 
leans toward fancy colors and varied shapes. An artistic 
card of this kind, we believe, has advantages over the the merchandise on display. That is why it is placed in 
plain kind, the same as a well-illustrated advertisement the most conspicuous portion of the window. Unques- 
in a newspaper or trade journal is more effective than tionably a clever and appropriate illustration will stop 
cold type. That statement will bring up the point that the man who is "on the run" and thereby draw his atten- 
an ad in a periodical requires embellishments to attract tion to the merchandise, showing more quickly than plain 

43 



Fig. 2 



44 



DAILY'S SHOWCARD WRITING SYSTEM 



lettering. 'When this is accomplished the showcard has 
performed its duty. 

Illustration and Catch Phrases 
Unless the showcard writer is a clever artist, we rec- 
ommend the use of illustrations, cuts from periodicals, or 
lithograph embellishments, mounted on the card. Each 
illustration should be accompanied by an appropriate 
catch phrase. Here we describe some clever cards of this 
character. Showing a cut-out illustration of a man in 
bathing; catch phrase: "Come in, the Water's Fine. 
Special on Bathing Suits, $3.50." A traveling picture ; 
catch phrase : "Traveling? Our suit case suit." Soldiers 
marching ; catch phrase : "Right in step with fashion." 
A stock ticker illustration; catch phrase: "Speculation 



^fro/n /he ^/a/xze/i 




of ^Ais/uo/i 



Mens 
>prin 

Mais 



Spring 




Fig. 3 

in Our Stocks Is Safe and Sure." A wash day scene; 
catch phrase : "Washable Neckwear Unafraid Of The 
Tub." This gives but a hint of what may be accomplished 
with a little thought in this line. The progressive card- 
writer will hardly pick up a magazine without being able 
to use some of the illustrations in this manner. 

Using Lithograph Floral Illustrations 
The Spring showcard should be so changed in its gen- 
eral appearance and character of execution that it will 
stand out as a distinct change over any style that has 
been used in the past season. The lithographed illustra- 
tions that have been used in this article are especially 
appropriate for the season and add a beautiful atmos- 
phere to showcards of this character and size. 

Card No. 1 shows an illustration that has been cut 
through the center part of the design applied to each side 
of the card and finished with a double ruled line. The 
lettering has been executed with the No. 2y 2 and No. 3 
Sonnecken pen. 

Card No. 2 shows a simple panel arrangement in which 
our lithographed illustration has been set. The small 
lettering has been executed with the No. 2 l / 2 Sonnecken 
pen and the scrolls on the capital letter "A" and letter 
"('," have been extended by the means of a ball-pointed 




raiDS 

r/^o/>i //]//v.v. 
. ~(j.)ri(/o/i . I (c/i/i a . 
{/rices, f/tuo /o 
t/c/t i/)o//a/zy. 



Fig. 4 

pen. The word "Cravats" was executed with the Mam- 
moth pen. 

Illustration No. 3 shows a clever border arrangement 
using two lithographed illustrations to each side of the 
center. The lettering has been executed with the 2]/ 2 
Sonnecken pen. 

Card No. 4 shows a clever manner of applying our 
lithographed illustration over part of the lettering. The 
word "Straws" was executed with the No. 8 red sable 
rigger. The small lettering was executed with the No. 
2 l / 2 Sonnecken pen. 

Card No. 5 shows an upright or portrait style layout. 
The lithographed illustration has been set in a broken 
border at the top. The words "Silk Shirts" have been 
executed with the No. \]/ 2 Sonnecken pen. The small 







SjL Skirls 






Ike 

besl vol 
cast on I ol 






las hi on s 

a ice box lor 










Jprind Lino 

s c 

Jummor iqi v 





Fig. 5 

lettering has been executed with the No. 3 Sonnecken 
pen. All start from a guide line at the left and extend to 
the right in an irregular effect. 



LESSON I 



1« 



DEMONSTRATING THE USE OF FANCY PAPERS FOR SHOWCARD PURPOSES 



IF the showcard writer will use a little thought in re- 
gard to his subject he will find much available ma- 
terial in the market that he can use to advantage in- 
constructing novel and attractive showcard embellish- 
ments. 

Very little ingenuity and skill are required for the 
making of attractive cards along the lines sugested in 
this article. Marble, onyx and fancy papers, of course, 



SPRING 
1915 



son in one hundred is aware that the article is imitation. 
Especially is this true when the surfaces covered with 
the papers are varnished. Thus treated they give a high 
gloss which closely resembles a highly polished cabinet 
finish. 

Not only is this paper serviceable, but it is also eco- 
nomical. It comes in sheets of two sizes, 20 x 24 and 
22 x 31 inches. Each size costs about three cents per 
sheet. 

Another good material is the Japanese wood veneers. 
These veneers are sheets of natural wood cut so thin 
that a thousand of them would be less than one inch in 
thickness. If used alone they would be entirely too deli- 
cate for commercial purposes, but they are made prac- 
tical by backing them with Japanese rice paper. Even 
then they are not thicker than a sheet of thin paper, but 
the backing adds to their durability. 

This material conies in a number of different finishes, 
such as natural oak, maple and cedar, and in many beau- 



Fig. 1 

have been used for some time. They are also very popu- 
lar for the construction of decorative pieces and fixtures 
for the windows. 

Paper makers have recently produced other materials 
which are new and serviceable. Of great utility are the 
papers printed in imitation of wood barks and grained 
woods. Some of the designs in these are reproduced with 
the accompanying cards. The imitation bark effects are 
very popular, and this material can also be used to ad- 
vantage for the reproduction of tree trunks and limbs in 
window displays. 

The grain on these is such good imitation that the 
closest scrutiny is necessary to detect the substitution 
and when they are used in the windows scarcely one per- 



prings 

parkling 

iyles 



Fig. 2 

tiful colors and shades in sheets 20 x 30 inches, and costs 
but a few cents per sheet. 

In utilizing this paper it must first be mounted on a 

45 



46 



DAILY'S SHOWCARD WRITING SYSTEM 



mat board. Mat boards ready prepared may be secured 
at prices slightly in advance over the unmounted ma- 
terial. 

In order to secure attractive effects, such as cut-outs, 




Card No. 2, lettered "Spring's Sparkling Styles," was 
made on a light brown imitation leather paper, lettering 
in white. 

Card No. 3 shows a piece of white oak paper mounted 
on a quarter-sheet card, letting a portion of the card 
form a border around the design. This card is lettered 
in black. 

Card No. 4 shows a very effective border of bark paper, 
the center of the card being lettered in black on white. 

Card No. 5 shows an oval design bordered with a dark 
brown imitation leather paper. 

The original size of these cards was a quarter-sheet, 
11 x 14 inches. 

If the card writer will devote a little time and study to 
this subject he will find it possible to make many at- 
tractive, inexpensive and simple decorative designs. 

In arranging vour show window cards it is well to 



Fig. 3 

shown in the card bordered with the leather and bark 
paper, the unmounted material may be used to the best 
advantage. 

In mounting this on the card it is best to use library 
paste. The material will save money in expense if you 
use some old soiled card and mount it over with the 
fancy paper. In fact, the same card may be used over 





Fig. 5 

make them as attractive as possible, but bear in mind 
that these always advertise the merchandise on display 
and not the ability of the showcard artist. 

Through the showcard the window speaks, urging 
upon the attention of the public the strong selling fea- 
tures of the goods. The chief aim of window advertising 
is to induce the public to buy NOW. 

The showcard is, therefore, the silent salesman that 
tells the buying public what they ought to know. The 
people want information without asking questions. The 
"» card appeals to their interest without compelling their 
favor. It asserts the merits of the goods without con- 
tradicting their judgment. It solicits their patronage 
strongly without effective persistence and it urges them 
to buy without forcing their consent. 

If the man who is in charge of the card work will take 
Card No. 1, worded "Spring 1915," was lettered on a this into careful consideration in the execution of his 
dark oak wood grain paper, lettering in white outlining work, a greater result will be evident through this form 
the letter in black. of advertising. 



Fig. 4 

and over again by mounting the clean sheet of paper on 
it and lettering accordingly. 



a BCDEFGFl I JRMN© 

PQRSTUVWXYZD 
a b>c<Jefohij klmno 
p<q r s luvwxy z 

H2.34&6733 



Modified Roman Alphabet Suitable for Headings 



LESSON NOc 



NEW MODIFIED 
US SHO' 



ROMAN ALPHABET WITH EXAMPLES OF SHOW- 
LETTERING IN USE- -THE VALUE OF STENCILS 



MOST showcard writers are looking for alphabets 
that are legible, artistic and easy to write. The 
one we reproduce herewith combines all of these 
characteristics and at the same time it is very much out 
of the ordinary. This is known as the modified Roman 
letter. 

Large Roman letters of this character are usually out- 
lined with a small brush and then filled in, a process that 
is 'obviously slow. In this intensive age where many 
showcards are required throughout the store, more rapid 
work is required. 

The letters shown in the accompanying alphabets are 
practically all single-stroke work. In most cases only 
one or two strokes are required to execute the entire 
letter. A No. 7 red sable rigger-brush was used for this 
purpose. It is well to secure one of light build which has 
a tendency to split on the end when flattened. 

The flattened end should be so held that the chiseled 
edge is parallel to the guide lines. Thus were produced 
the slender sections of the lines mostly parallel to the 
guide lines, the wide perpendiculars and the connecting 
sections of graded widths. 

An alphabet of this character is especially suitable for 



headings or to such words or lines as may need emphasis. 
The remainder of the text or descriptive matter may be 
executed with Sonnecken pens or Payzant pens. These 



s 



uramer 



g% Suits 

Jor Outing 
\*u~ ""duress. 




J£ 



pens will give the needed contrast to the work which is 
sought by the best men in the profession. 

47 



48 



DAILY'S SHOWCARD WRITING SYSTEM 



The original size of the plate on which this alphabet 
was reproduced was 11^4 inches high by 22 inches in 
width. The guide lines between the upper-case letters 
are \y% inches apart. The guide lines between the lower 
case "a" are i/% of an inch apart. The entire card is ruled 
with a one-inch margin. 

Regarding Layout 

Next in importance to proficiency in lettering is skill in 
layout. Sooner or later the work of all card-writers is 
characterized by a certain individuality of style which is 
easily recognized, its features being marked by the form 
of layout, the manner of applying or featuring illustra- 
tions, and a peculiar type of lettering which is charac- 
teristic of the writer. Of these characteristics the layout 
is perhaps of the most importance. 

A fundamental rule which is frequently overlooked by 
novice card-writers is that in laying out a card not only 
should the work thereon have the lower margin a trifle 
wider than the top margin, but the prominent or heavier 




lettering on the card should be well above the actual 
center, with such of the text as follows grouped so as to 
be easily read. 

Another rule, occasionally violated, is that illustrations, 
when drawn or applied from clippings taken from trade 
journals or magazines, should be so placed that the 
figure, if there is one, will be looking toward the read- 



ing matter. This point you will find illustrated in each 
of the cards reproduced herewith. 

Good judgment also demands that illustrations or orna- 
mentations on the showcard should be in harmony with 
the merchandise exploited or with the season of the year 
to which it applies. 



rEle 



ance 



Ok 



bnhanced 
by bcoaomy. 






Each of the accompanying showcards was done on a 
white background in black lettering. The headline words 
in each card show the use of the accompanying Modi- 
fied Roman alphabet. The remainder of the lettering was 
made with the Sonnecken pen of various sizes to suit 
the requirements. 

The cards are further embellished with the aid of 
stencils, which make a very appropriate decoration for 
Spring and Summer. 

We have made the stencil designs in black so that they 
will be reproduced to the best advantage. In regular 
work, however, a more pleasing effect may be had by the 
introduction of a little color in the stencil work. 

If you will refer to Lesson No. 7, you will find a few 
remarks on the use of stencils and the cutting of stencils, 
which will assist you in this work. 

Each of the designs used in the accompanying show- 
cards was a stock design which can be purchased for very 
little money and has an added advantage in the fact that 
it can be used over and over again. 





LESS 



il 



THE BEST COLORS FOR CARD-WRITING AND A COLOR CHART SHOWING HARMONIOUS COMBINATIONS 



IT seems to be the rule of all in showcard writing that 
when the display man is in doubt in regard to the 
color of cards to use in a window display, a white card 
lettered in black is a safe combination. This may be true 
to a great extent, but have you ever stopped to think that 
a trim may be spoiled by this method? Does it not stand 
to reason that a display may be improved by using the 
proper color card and lettering to blend or contrast with 
a display of merchandise? 

Color laws which govern the arrangement of merchan- 
dise, the selection of decorative material and the use of 
.backgrounds play just as important a part in the color 
scheme of the showcard. 

It is a known fact that white adds to the intensity of 
the color scheme ; therefore, it is clear that a white card 





50*Cravs 


its 






^StiS* Dollar v 
/ \ . . ■-* 


■ 


«— v— ' 





lettered in black may distract the eye from the display. 
In other words, the showcard should not conform in 
color to the decorative scheme, and thereby destroy to 
any degree its purpose, which is to pleasingly attract to 
the merchandise showing. 

A safe rule for window cards is to select the color of 
board to be in a contrasting complement to the display. 
The size of the card should never be so large as to over- 



shadow the merchandise. A quarter-sheet is the average 
size for window displays. 

White goods may be made to look pure or blue-white 
by using a showcard of light orange ; yellowish or cream- 
white by a light blue card. Lettering on the cards may 
be in deeper tone of the same color as the card and pro- 
duce a pleasing effect. 

An orange card may be used for blue goods ; a yellow 
card for a display of violet ; a greenish-yellow card for a 




display of purple and a green card for a display of red. 

If the showcard is in contrasting color to the display 
of merchandise, the lettering may be in a related color 
harmony and the outlining of initial or border may be 
in contrasting harmony to the cardboard utilizing warm 
colors for Fall and Winter season and the cooler effects 
for Spring and Summer. The proper coloring for show- 
card lettering may be quickly determined from the ac- 
companying color chart. 

Explanation of Chart 
The accompanying chart has been arranged to assist the 
card writer in selecting his color combinations. The 
colors directly opposite of each other on the chart are 

49 



50 



DAILY'S SHOWCARD WRITING SYSTEM 



complementary to each other, and form what is known 
as contrasting harmony ; the colors in close proximity to 
each other when used from what is known as related 
harmony, such as yellow and yellow-green. 

By the addition of black, the tertiaries are obtained 
which form the citrines,, russets and olives by mixing the 
colors as shown on the chart ; as, yellow-orange to yel- 
low-green, mixed with black from the various shades of 
citrine colors. Thus the chart will be very useful to the 
card writer for the actual combination as well as the 
mixing of colors. 

Yellow. 

Red. 

Blue. 

Primary Colors. 

Orange. 

Green. 

Violet. 

Mixing Red and Yellow. 

Mixing Yellow and Blue. 

Mixing Red and Blue. 

Form the Secondary colors. 

Yellow mixed with Green forms Yellow-green. 

Green mixed with Blue forms Blue-green. 

Red mixed with Violet forms Red-violet. 

Red mixed with Orange forms Red-orange. 

Orange mixed with Yellow forms Yellow-orange. 

Blue mixed with Violet forms Blue-violet. 



Yellow-orange. 

Yellows. 

Yellow-greens. 

Black makes the citrines. 

Red-orange. 

Red. 

Red-violet. 

Black makes the Russets. 

Blue-violet. 

Blues. 

Blue-greens. 

Black makes the Olives. 

The Showcards 

The accompanying showcards reproduce what is known 
as the stencil poster effect. The poster effect is secured 
by lettering on various colored backgrounds. 

Melton board with a soft velvet finish is an excellent 
material for this purpose. Each card shows the combin- 
ation of brush and pen lettering. The words "50c. 
Cravats," "Jumbo Value," and "Clothes," are known as 
Roman alphabet, each letter being outlined in a contrast- 
ing color. All of the lettering is done in white with the 
exception of the words "50c. Cravats" and "Blank's 
Shirts." 

The original size of these cards was a half-sheet 14 x 22 
inches. 




Chart to Assist Card Writers to Select Color Combinations 



$ I234S6789 9 

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nopqrstuuiDxyz 



LESSON NO. 



ILLUSTRATING THE USE OF THE ITALIC PEN ALPHABET MADE WITH THE SOENNECKEN 
PEN — UTILIZING NEWSPAPER ILLUSTRATIONS — HOW TO TRANSFER PRINTED DESIGN 



THE script alphabet that accompanies this article is 
one that is effective, legible and made with a very- 
few strokes. It is executed with the No. 14 "Ly" 
pen, but may be worked to advantage with the brush 
working on the flat point. The capital letters were exe- 
cuted between guide lines 1^4 inches apart. The lower 
case letters were executed between guide lines five-eigths 
inch wide for the lower case "a" and one inch wide for 
the stem of the lower case letter "b." This will guide 
one in the practice of this work. If you will carefully 
study the construction of this alphabet, it will be readily 
understood, and, with proficiency, speed will be quickly 
acquired. 

Slanting letters, as a rule, are the easiest understood 
and mastered by the novice, as they are the nearest style 
to general hand-writing. 

The script style either for the pen or brush is the 
speediest alphabet possible, because the fewest strokes 
are required for its completion. Being a thick and thin 
style, it is very pleasing to the eye, having that sem- 
blance of finish which is impossible to secure on any other 
style in the same amount of time. 

The average showcard writing student seems to have 



difficulty in choosing the proper guide lines and the 
proper size brush or pen. 

The stems of all ascending and descending letters are 
at least one-third to one-half above or below the line 

Actual Size of Pen and Strokes. 



I I I ■ 




of that body of the letter. Capital letters are made in 
the same proportion. When ruling guide lines for slant- 
ing or script, remember that they can be ruled a trifle 

51 



52 



DAILY'S SHOWCARD WRITING SYSTEM 



narrower, as additional height is secured by slanting the 
letters. 

Position of the Cardboard 
In executing slanting or script style work either for the 
pen or brush, it is advisable to place the cardboard in a 



a/^ets steer 
j/oti &tg?At. 

Sailor 
Scuts 




slanting position before you. In your store work, it is 
not advisable to execute all work in pen lettering, as pen 
lettering is hard on the nervous system ; so, if possible, 
mix up your work, doing part with the brush and part 
with the pen. 

It is not advisable to take the temper out of the pen 
by heating with a match. It is recommended to wipe 
the pen thoroughly with a cloth after dipping it into the 




Were Read- 
strong in 

_ Jlat 

SaliLes I 



ink to remove all the oil with which all pens are covered 
to keep them from rusting in stock, which is all that is 
required to keep the ink from crawling on the pen. 

For real high-class work it may be found advisable to 
fill the ink retainer on the pen by means of another pen 
dipped in the ink. By this rriethbd you can execute clean, 
sharp strokes without danger of the ink 'flooding. An- 
other method is to take an old pen which is not sprung 
at the end and insert into the holder without ink retainer. 

Grip the pen one-eighth inch from point between balls 



of thumb and index finger. Pull finger away two or three 
times. The natural oil of the hand greases the end of the 
pen on top and bottom. Now put on a drop of pen ink 
on top hollow and one drop on underside of pen, both 
away from point of pen. You will find the ink won't run 
down to the end of an old pen treated in this manner, but 
usually will on a new pen. The ink inside will run down 
the opening in pen. Once the ink does run down to 
point on underside wipe dry and repeat the process. 

Another hint is not to grip the pen too far back from 
the pen point. 

Use of Illustrations on the Card 

An illustration used on a card will have a tendency to 
compel attention much quicker than one without a design 



<$Ll 1 Roll 




{/aeatio/i 

6y starting right off ■'- 
•:- with your shopping Aere. 



of any character. All of the accompanying showcards 
illustrate the use of newspaper reproductions pasted on 
the card to further embellish it. 

Transferring the Design 

The following instruction and recipe carefully followed 
out will enable the card writer to transfer small news- 
paper designs directly to the card, and it will transfer 
colors as well as black and white designs : First apply 
this fluid thoroughly over the design to be transferred, 
using a small camel's hair brush. After the fluid has 
soaked well into this paper, blot off the surplus fluid and 
lay the design face downward in the position wanted on 
the showcard. Place a strip of paper over the design and 
rub it into the card with the bottle or any smooth object. 
This fluid loosens the printers' ink, thereby making the 
design transferable to any smooth surface. By this 
method a design can only be transferred once. 

Take one pint of hot water. Scrape into this three 
teaspoonfuls of castile soap. Put into quart bottle and 
shake until dissolved. Then put in nine ounces of turpen- 
tine and shake the bottle ; half ounce of ammonia, shake ; 
half ounce benzine, shake ; one ounce of sulphuric ether, 
shake. Shake the bottle well after each ingredient is 
placed. 

This recipe can be put up by any druggist and makes 
an excellent cleaner and ink-eraser. 



AB GDE FGHIJ"KLMN 
OPQRSTUVWXY^ Sl 

a_ t> c cLe f pKijlclmrLOpc[r , stTj: 
vwxyz 1234807 890*<? 

; - Speed, Pen. .AlpHabet * 



LESSON NO. 23 



AN ALPHABET MADE WITH THE NEW SPEED BALL PEN 
AN ALPHABET MADE WITH THE NEW SPEED BALL PEN— EXAM- 



THE more important that a profession or art be- 
comes the greater are the possibilities and oppor- 
tunities for improvement. Showcard writing is 
now recognized as an indispensable adjunct to any live 
store. This probably accounts for the many recent im- 
provements in the quality of tools and materials which 
are now supplied for the card writer's use. 

A new and most practical tool for showcard lettering 
is the Speed Ball pen. Our accompanying cut shows 
reproductions of this pen in various sizes ; also sizes of 
strokes that can be accomplished by its use. This pen 
promises to take the place of the Payzant pen which has 
been described and illustrated in a previous lesson. It 
has a number of points in its favor over the Payzant, 
the chief being that it can be dipped directly into the 
ink, thereby saving the time required to fill a reservoir 
which is necessary in order to work successfully with 
the Payzant pen. 

It is also much cheaper in its price. The Payzant pens 
are $1.25 to $1.50 each at retail, while the Speed Ball pens 
retail from ten to fifteen cents each. 



By careful studying our pen reproductions, you will 
notice that each one is equipped with an ink-retainer. 




SUMMER 
STYLES 



are reflected 
in otir 
of Mens 



showini 
Suits. 



This little device assists in holding the ink on the pen, 

53 



54 DAILY'S SHOWCARD WRITING SYSTEM 

permitting a longer use without dipping. These pens card. The illustration is then mounted on two pieces of 

may be used with any color of ink, and can be readily wood about one-fourth inch thick and attached to the 

cleaned by washing them in water. card. By this method the illustration shows a strong 

Considering the fact that the Speed Ball pen saves shadow which gives it an unusual appearance. The let- 



1 


% mi^**- 


Nfe, 


m "*^% 


"J" 


Coolness -■■ 


| ^s 


?^^- in one of our 




j£ regular *3S. 




* MOHAIR 




suits $22 



Fig. 2 



time, it is therefore more practical for card-writing pur- 
poses. The sizes range from one to five as follows : 1 
large, 3 medium, 5 small. All of the accompanying 
showcards show the use of this new pen for practical 
work. We wish especially to call attention to the neat- 
ness of the letter and its legibility. 

Cards Nos. 2 and 3 show two clever air-brush designs 
in Summer landscape effects. The lettering on these 
cards was executed with the Nos. 1 and 3 Speed Ball pen. 
In card No. 1 the illustration is mounted on a four-ply 
board and then neatly cut out. A circle may either be 
painted in, in color, or the same effect may be secured by 
cutting out a circle of colored paper and attaching to the 




GOING 
AWAY ? 



Bais -y-oull be 
proud, to carry 
on your "Vacation. 



Actual Size of Pen and Strokes. 

mi 




tering has been executed with Nos. 1 and 3 Speed Ball 
pens. 

Card No. 4 illustrates another clever method that any 
showcard writer can use for a high-grade embellishment. 

Trace the outlines of any suitable newspaper illustra- 
tion on your card in the position desired, then with the 
brush and show card color outline and silhouette such 
parts of the illustration as will best bring out the effect 
desired. 

The illustration can be further strengthened by out- 
lining the extreme outside edges with a contrasting color. 
This card was green and tan rippled finish board lettered 
in white with a Soennecken pen, $15.00 was executed with 
the No. 8 Red Sable Rigger, size of the card 11 x 14. 




Fig. 3 



Fig. 4 



ABGDEFG/UJKLM 

NOPQRSTUWXYZ 
1294S67990$<? 

ate del gKiiklranop 



uvwxyz. 



ee 



LESSON NO. 24 

ADVANTAGE OF USING DARK CARD WITH LIGHT LETTERS— A NEW SPEED BALL SQUARE-POINT PEN 



A T the present time there is a marked tendency to- 
/A ward the use of dark board, such as tans, browns, 
buffs, black, etc., lettering - the same in white or 
lighter or darker shades of the colored surface. In our 
Lesson No. 21 we took up this subject, together with a 
color chart and other valuable color information of spe- 
cial use to the card writer. 

We wish to again call attention to Lesson No. 21, as 
the contents of this article will have a tendency to make 
that more interesting and serviceable. 

For a showcard that is to be used for a considerable 
length of time, there is nothing that is more practical 
than a dark card lettered with light colors, because a card 
of this character does not so readily show finger marks, 
dirt, or grime, whereas a white card will often be soiled 
in a few minutes while handled with perspiring hands. 

A high-class, beautiful effect can be secured on the 
interior of the store by using a showcard that harmonizes 
well with the woodwork. A card of this kind should 
blend into its surroundings and the lettering should be 



brought out in strong relief so as to readily catch the 
reader's eye. 

For sale purposes, especially a sale that lasts an hour 
or a day, a white card lettered in black will be found least 
expensive, as a white board costs about one-half that of 
the dark surface boards. 

Many of the better stores today are using tan, brown 
and buff cards lettered in white or pastel shades. The 
popular sizes are fourth, eighth and sixteenth sheets. 
This is an indication of the coming popularity of the 
dark card with white lettering. 

Another noticeable point of extreme importance in 
favor of the darker card is that it does not reflect the 
light and cause a glare in the reading matter which is 
often true of a white card lettered in black. This defect 
in showcard lettering is often noticeable in the strong 
sunlight. 

By placing a white card lettered in black by the side 
of a dark card lettered in white it will be apparent at 
once that the dark card is preferable when it comes to 
legibility. 

55 



56 



DAILY'S SHOWCARD WRITING SYSTEM 



Position N ? Iuim.o 




Position n ? 2 HI imniw 




Fig. 1 



Fig. 2 



Fig. 3 

In our last two articles, we brought the card writer's 
attention to new styles of single-stroke Speed Ball pens. 
The first was a flat, broad nib pen, illustrated in Lesson 
No. 2. The second was a round disk pen illustrated in 
Lesson No. 23. 

In this article we introduce to the show card writer 
a new pen that has recently been placed on the market 
which is similar to the round disk pen, but instead of 
being round it has a square point. Illustration No. 3 
shows the pen from the side position. Illustration No. 4 
shows the pen from the top position. 

Illustrated Showcards 

Illustration No. 1 shows one of two positions in which 
the pen can be held. The end of the pen, being square 
naturally gives two choices. Illustration No. 1 shows the 
pen held squarely to the guide-line, while illustration No. 



Fig. 4 

2 shows the pen on an angle and naturally the strokes, 
at the beginning and ending, start and stop with a pointed 
end. 

These pens come in five sizes. The alphabet that ac- 
companies this article was lettered with the second larg- 
est size, on a card measuring - 10 x 12 inches, having a 
border of one inch all the way around. The capitals 
were executed between guide-lines one inch wide. The 
lower case "a" was executed between guide-lines half an 
inch high, while the ascending strokes of the letter "b" 
were executed between guide-lines same as capitals. 

The showcards accompanying this article were all exe- 
cuted on cards 11 x 14 inches. Japanese stencils have 
been used throughout, executed in white to match the 
lettering. The cards were all executed with the second 
and third sizes of pens, and the figures on Cards 1 and 2 
executed with No. 8 Red Sable Rigger. 





Card No. 1 



Card No. 2 




LESSON NO. 



MORE ABOUT THE AIR-BRUSH — REPRODUCING AN EXCELLENT 



THE alphabet reproduced in this lesson is a popular 
and excellent one for air-brush work. In lesson 
No. 11 of the series was shown our first air-brush 
alphabet. The construction of these letters, however, is 
made in an entirely different manner. Showcard writers 
will find this alphabet more graceful in appearance on 
the completed card and more easily read at a greater dis- 
tance than most alphabets of an ornamental nature. This 
is a strong point in favor of the use of these letters as the 
wording on all showcards should be so designed as to be 
easily read at a glance. This is especially true of the 
head-line wording or sentence. 

Use Ornaments Sparingly 

It might be well to speak a word of warning to the 
novice regarding ornamentations. They should be used 
sparingly on a single card and can be effectively employed 
with the first letter of the word or sentence only. 

Fancy scrolls and borders should be used in economy 
in combination with this alphabet, as letters when treated 
with the air-brush are ornamental in themselves and fur- 
ther embellishments will have a tendency to give a very 
fussy appearance to the card as a whole. Any of the 
clear, legible, single or flat-stroke alphabets are excellent 
in setting forth important arguments on the card. This 
is illustrated in the Autumn card shown herewith. 



The first cost of the air-brush is practically the only 
cost, as fluid for this work is no more expensive than the 
ordinary showcard paint. Air-brush work on these cards 
is done with special prepared ink for this purpose. This 
retails at one dollar per pint ; one bottle will make many 
signs. In fact, the actual cost for each card will figure 
surprisingly low. For average use a pint of this paint 
will last more than a year. 

Showcard Ideas Count 

The ideas in showcard work are what really count. 
The average showcard writer can easily copy or work out 
a showcard, if he once strikes upon something new in the 
way of a practical idea. 

In this article, several new effects in showcard writing 
are brought out. The alphabet that accompanies this 
illustration is a new air-brush letter. It has been exe- 
cuted on a cardboard 14 x 22 inches, a half sheet. The 
letters themselves are 2^ inches in height, the figures 
being 2% inches in height. The alphabet was executed 
by placing the cut-out letters on the card and holding 
them fast with pins. Air-brush is then applied around 
the entire letter, being slightly heavier on the bottom 
and left side. After this, the letter patterns are removed 
and the blank white space of the letter itself is rounded 

57 



DAILY'S SHOWCARD WRITING SYSTEM 



up with a very light spray of the air-brush, which gives 
it the raised or relief effect. 

In cutting out the alphabet, it is advisable to take a 
piece of cardboard about 6 inches wide and 22 inches long, 
in the center of which, correctly spaced, lay out the 
words : "Fall, Spring, Summer, Autumn and Winter." 
This will give you five stencils of the seasons of the year 
and incidentally most all the letters in the alphabet. In 
cutting out the letters, do so with a knife slightly held 
on an angle, which will give a very sharp edge. 

Card No. 1 is executed by using a stencil with the word 
"Fall." This was placed on the upper portion of the card 
and the lettering blown in, care being taken to Avork 
along the edges so that the center of the letter is left a 
lighter tone to give the proper effect. With a red sable 
script brush, the left and bottom sides of the letter have 
been strengthened with a black line, and next to this, 
with an air-brush, a light shading has also been applied 
to the left and bottom sides. The extreme edge of the 
card has been treated with an air-brush, giving it a 
rounded-up appearance. Now, with an air-brush, work- 
ing with a very fine spray, the marble effect is then pro- 
duced. 

An atmosphere of Fall is further secured by applying 
the lithograph illustrations to right and left. The bal- 
ance of the lettering has been executed with a No. 3 
Sonnecken pen. 

Card No. 2 is a brown mat board, with oval and foliage 
executed with the air-brush. This requires two stencils, 
one for the leaves and one for the oval, which is designed 
in one and then cut out and placed together. First, air- 
brush the outside edge of all the leaves and when finished, 
remove the leaf's stencil, leaving the oval over the edge 
over the leaves. The lettering has been executed with 
two sizes of the Speed Ball pen and the price has been 
worked out with the stencil figures and the air-brush. 

Card No. 3 is a little out of the ordinary, but it is a 
fascinating piece of work. The card writer who saves all 



sorts of clippings, illustrations, etc., will now find a 
handy use for suitable subjects, as here shown. Any 





/4e L/zi/tte. j/our 

inspection of a// fJuif 
is neiv l/l s£i/le.. 





Card No. 2 

likely illustration is outlined and then worked in by 
hand, with a small brush and ordinary showcard colors. 

The size of this card is 14 x 22 inches, and is a black 
mat board, hard finished. The lettering has been exe- 
cuted with two sizes of a speed-ball pen, well on the 
upper part of the card, while the illustration has been 
executed on the lower portion, giving the card an out- 
of-the-ordinary appearance. 




Card No. 1 



Card No. 3 



'hmM^^f 



Turkey Time is 
Ove rco at Time. 



1 


CLOTHES 

Lj'Ae these, to be 
f^ <Ihankfull for 




^^^^^ ■■£****' ^- 





Card No. 1 



Card No. 2 



LESSON NO. 26 



SEASONABLE IDEAS FOR THANKSGIVING — DESCRIPTION OF THE ILLUSTRATED CARDS 



EACH month in the year presents at least one special 
occasion which can be featured in window displays 
and in showcard embellishments that will not only 
have a tendency to increase sales but add much valuable 
publicity for the store by creating the impression of orig- 
inality and up-to-dateness. 

For the month of November we have Thanksgiving 
Day, and we have prepared the following showcards to 
assist the card writer in working up suitable decorative 
embellishments for that occasion. 

How Ideas Can Be Secured 

The Thanksgiving and Hallowe'en season offers a 
splendid variety of ideas for showcards. Many effective 
showcards can be worked up by using papier mache orna- 
ments. Crepe paper gives another variety of designs that 
can be cut out and pasted to the cards. Other Thanks- 
giving and Hallowe'en subjects can be found in trade 
journals and magazines. These can be cut out and ap- 
plied to the card. While many fancy and complicated 
cards could be worked up that would require consider- 
able artistic skill, these would be of very little use to 
the average showcard writer. The man who is a good 
letterer, but not of an artistic turn of mind, requires prac- 
tical ideas for his work, and having this problem in mind, 
we herewith present five subjects that can be easily copied 
and modified that will meet with the approval of card 
writers generally. 

The Showcards 

Card No. 1 is a half sheet, 14 x 22. The word "Thanks- 
giving" is carefully laid out and then outlined with a 
script brush and filled in. The special feature of this 
card is the feather quill which gives plenty of atmosphere 
for Thanksgiving and gets away from the ordinary 
Thanksgiving subject. The two lower lines were exe- 
cuted with a No. 1 Soennecken pen. For pen work, the 
card writer Avill find it necessary to thin down his brush 
white with water so that it works freely from the point of 
the pen. 

Card No. 2 is a half sheet, 14 x 22, a dark brown ripple 



finished surface. The squirrel subject will be found a 
very appropriate idea for a Thanksgiving card, and one 



Y 



■ 



our outer appearance 
is a reflection of 
your inner sell... 

(Pravats *110 



1 



Card No. 3 

that lends itself easily to copy. By means of an air-brush, 
the squirrel and leaves were touched up. The word 
"Clothes" at the top of the card was executed with a No. 
8 red sable brush between guide lines lj4 inches high. 
With a script brush, the top parts of the letters were 
touched up with bright red, which gives a very pleasing 
effect. The two lower lines were executed with a. l l / 2 
Soennecken pen. 

Card No. 3 is a quarter-sheet, 11 x 14. There are three 
splendid ideas on this card. First, the initial panel which 
carries the Thanksgiving idea in its illustration. Second, 
the embossed border, and thirdly, the color effect which 
has been applied with dry colors and a piece of cloth, the 
color lines radiating from the initial panel. This lettering 
was executed with a No. 3 and No. 2 Soennecken pen. 
Figures with the brush. 

Card No. 4 is something out of the ordinary run of 

59 



60. DAILY'S SHOWCARD WRITING SYSTEM 





Thanksgiving 




Card No. 4 Initial Panel, Like Card No. 3 

showcards. The subject at top of the card was sketched in brush. The size of this card is 9 x \7 l / 2 inches, border 

and worked with pen and ink. The lettering was exe- measuring 1^4 inches all around, which is a natural Jap- 

cuted with a No. \y 2 and No. 3 Sonnecken pen. Price anese wood veneer. 




Lower Case of Alphabet Used in Lesson No. 10 



AB€D€F(5B1J 



aBcdefgHijkl 
mnopqrsixtr 



LESSON NO. 27 

THE MODIFIED OLD ENGLISH ALPHABET WITH SUGGESTIONS FOR CHRIS 1 



AT least a month should be given to the consideration 
of your holiday window-cards, so that full justice 
may be done them. The Christmas season, no 
doubt, brings out the very best in a showcard writer. He 
is teeming with enthusiasm and simply running over with 
ideas, and it is his aim, year after year, to vary his cards, 
so that they will not be too much like those of the season 
before. There is no end of materials, illustrations, etc., 
that may be used. 

The Modified Old English Letter 
The average showcard writer is a very busy person, 
and, naturally, he must have subjects that he can work 



mended to be used too freely, as it is more difficult to read 
by the average person than other styles. A great many 
times an Old English initial will be found sufficient if 




Fig. 1 

out in a short length of time and still produce a card that 
is his best effort of the year. For this article, we are 
introducing the Old English alphabet. Old English is a 
splendid style in a modified form that can be safely used 
for holiday showcards. 

Aside from Christmas and Easter, it is not recom- 




Fig. 2 

elaborately^ worked out. Otherwise, one or two words 
are all that is required for a showcard. The Old English 
alphabet accompanying this article was executed on half- 
sheets 14 x 22 inches. The capital letters were executed 
between guide lines 2 inches wide. The lower case letter 
"a" was executed between guide lines \y% inches in height 
and the extending stroke of the letter "b" between guide 
lines 1^4 inches high. 

The five cards that occompany this article will be found 
to be of a most practical sort, being very effective, though 
of a simple character. With the exception of Card No. 1, 
the average showcard writer can copy the remainder 
without difficult}-. 

The Showcards 
Card No. 1 is a lithographed design, air-brushed by 
hand. The Old English initial "T" is worked out in red 

61 



62 



DAILY'S SHOWCARD WRITING SYSTEM 



and white. "Tempting Fruits for Tree" has been exe- 
cuted with a No. 2y 2 Soennecken pen, while the words, 
"Christmas Tree," were executed with a Speed Ball pen. 
This card breathes the very spirit of Christmas, and is 
one that can be used in the very highest class of displays. 
Card No. 2 is a half-sheet in a greenish ripple board. 
The chimney and smoke are sketched in by hand and exe- 
cuted in ordinary showcard colors. The Chimney and 







i Br. 
Santa Clans 



v e can fill 

l /our ff^ac/d here. 





"^"* mS *" l ~ 




Fig. 3 

roof have been treated with clear mucilage and then 
sprinkled with imitation snow. "Givable Gifts" was exe- 
cuted with scarlet between guide lines 1^4 inches in 
height, with a No. 8 red sable rigger. "Do Your Shop- 
ping Now" is lettered with a No. 2 l / 2 Soennecken pen. 
This is a very pleasing, clean-cut card, and one that will 
find great favor with the average card writer. 

Card No. 3 embodies two splendid ideas. The Santa 
Claus head is executed with an air-brush and can be 
applied to the card in many ways combined with an air- 



^m 



m 



^oiidHue- 




lo ol( 




if 



o pLease n 
VOLt 6rve these- 



J 



Fig. 4 
brush border or set in an oval or circle, etc. The holly 
leaves were executed with the air-brush. The entire leaf 



is first blown in and then a strip of paper is placed over 
half of the leaf and the other half is treated to a darker 
shade, giving it a concave effect. 

Twigs and berries are worked in water colors by hand. 
A most pleasing effect can be secured with holly leaves 
of this pattern by working them around an oval on a 
half-sheet. All that is necessary is a large and small 
leaf design cut out of ordinary writing paper or oil board. 
The pen lettering was executed with a No. 1 and 2}4 
Soennecken pen. This card is a quarter-sheet. 

Card No. 4 is a quarter-sheet. The illustration was 
executed by hand. There is no end of subjects which the 
card-writer can work out who can do copy work, this 
being but one of a hundred suggestions. The pen letter- 




Fig. 5 

ing has been executed with a No. 1 and No. 2 Soennecken 
pen. 

Card No. 5 is a quarter-sheet. The lithograph Santa 
Claus has been pasted to the card and the circle and the 
edges of the card have been treated with an air-brush. 
The pen lettering possesses little artistic touches which 
add wonderfully to its appearance, made with a No. 2^4 
Sonnecken pen. Card writers desiring lithographs of 
this character can secure same by writing in to The 
Haberdasher for information regarding them. 




Fig. 6 

Card No. 6 is an indicating hand which will be found 
useful for showcards and for directing purposes. The 
size of this card is 9 x 22 inches. The hand can either 
be worked out on panels of this kind or on half or full 
sheets. If used on quarter-sheets, it would be necessary 
to reduce the size. 



ABCDEFGH I 

JKLMNOPQ 
RSTUVWXYZ 



LESSON NO. 28 

JANUARY SALE SHOWCARDS AND A GOOD COMMERCIAL THICK-AND-' 



JANUARY has always been considered as the big sale be silent and many times unseen, but at the same time 
month. Some stores will, no doubt, hold up their it is selling goods in its quiet way presenting the strong- 
prices for some time after Christmas and New Years,' 
but the majority of them will figure on a sale. A success- 
ful sale necessarily means the practical use of plenty of 



JANUARY SALE 




Illustration No. 2 



Illustration No. 1 

showcards. The sale window-card has a threefold pur- 
pose, viz., attention, interest, and price. 

The price should be such as to give emphasis to interest 
and create a desire to posses the merchandise shown. In 

this way these little helpers perform the work of a silent est argument possible and urging the purchaser to buy, 
salesman and are often more effective than a clerk behind and in the end its results become manifest, 
the counter. Stores that subscribe to an advertising service are usu- 

The telling influence of the well-ticketed window may ally supplied with suitable cuts for their newspaper work 

63 



64 



DAILY'S SHOWCARD WRITING SYSTEM 



which may be used to supplement the showcard work, 
especially in the heading. 

If the card-writer makes a good, clear letter in black 
and white it may be reproduced by having a cut made 
from the original and then printing as large a quantity 
as you will require. If you make your design in black 



©Id 



nnnnm/f 
iiUdi jr 



itdrdUtt 



Illustration No. 3 

and white this will require what is known as a zinc line- 
cut. The prices range from eight to twelve cents per 
square inch, according to locality. 

Illustration No. 1 makes a splendid January Sale-Card 
heading. This is known as cut-in work, the letters ap- 
pearing the same color as the card, the background being 
painted in. 

Illustration No. 2 is a printed heading from type which 
is also very effective in the event that a card writer is 
unable to make or secure a cut for this purpose. 






SUITS 




{ 



Showcard No. 1 

Illustration No. 3 is a simple Gothic letter, a few artis- 
tic touches and two white lines running through the cen- 
ter of the lettering. 

The alphabet that accompanies this article is known 
as Commercial Thick and Thin. This has been exe- 
cuted on a half-sheet, 14 x 22 inches. The letters are 1^4 
inches in height. The thin strokes are made with one 



sweep of the brush and the heavy strokes with two 
sweeps. This makes a splendid style for display work, 
as it has a semblance of finish. 

Showcards Nos. 1, 2 and 3 are quarter-sheets, 11 x 14 
inches. The heading on card No. 1 is 3*4 inches wide, 
the lettering 1^4 inches in height. The card writer can 
make up a heading of this character from which he can 



January 

PRICES 



ha/je reacAeaf 

<Roclt bottom 



i 






Show-card No. 2 

have a cut made. This is known as cut-in work. The 
letters are the color of the cardboard, the background 
being painted in, in any color desired. The lettering is 
executed with a Sonnecken pen No. 2y 2 . The words 
"Suits" and "Price" are brush work two inches in height. 
Card No. 2 is very suggestive for sales purposes. The 




Showcard No. ? 

word "Prices" is one and three-quarters inch in height, 
balance of lettering with the Sonnecken pen. The anchor 
can be sketched by hand or a stencil can be used. 

Card No. 3, "77," is 6% inches in height. The word 
"Friday" has been worked through the center of same, 
which gives a very pleasing effect. Cards of this char- 
acter will cause kindly criticism and attention by passers- 
by, while an ordinary card, without any characteristics 
whatsoever, will tend only to repel. 




LESSON NO. 



FEATURING THE LOWER-CASE COMMERCIAL 



THE Commercial Thick and Thin Style of lettering 
is one that adapts itself to many uses. When per- 
fectly executed, it can be used on the highest class 
of cards. As a display heading, it is unexcelled for sale 
cards. This style work is usually executed with a No. 7 



THICK.-ANB-THIN FOR HIGH-CLASS SHOW- 
ART AIR-BRUSH BACKGROUND EFFECT 

are made with two strokes of the brush. The chisel edge 






Gloves 

You 11 be proud 
to carry... 



or 9 Red Sable brush, worked flat, the thin part of the 
letters being made with one stroke, while the heavy parts 



Fig. 2 

of the brush is usually held parallel with the guide-lines. 
We also call special attention to the numerals, as they 
are clean-cut, graceful and, with a little practice, easily 
executed, and will serve with most any style of lettering. 
The litho-art air-brush background effect is a new stunt 
that showcard writers will welcome ; first, because of its 
novelty ; secondly, because of the wonderful color 
schemes that can be worked up; and, thirdly, because it 

65 



66 



DAILY'S SHOWCARD WRITING SYSTEM 



is more rapid than other methods used in air-brushing. 

There seems to be no limit to variations that can be 
produced, such effects as stripes, both plain and alter- 
nating, light and dark, checks, plaids, marble and wood- 
grain effects, as well as cut-out letters, numerals, circles, 
ovals, etc. In future, possibly a few of the other designs 
will be gradually introduced. 

To get this litho-art effect, it is necessary to use some 
medium to produce the striped effect. This can be done 
by using thread, string, or rubber bands, spaced at even 
intervals. The card is placed under this arrangement and 
air-brushed as desired. 

Card No. 1 is a quarter-sheet 11 x 14 inches.. This 
design is a small pin-check effect, worked up in red, green 
and yellow. The initial "G" is in red, outlined in black. 
The bell is a simple newspaper illustration. The first two 
lines have been executed with a Speed Ball pen, while the 
words "New Goods" is our Commercial Thick and Thin. 




Fig. 3 

The scroll was executed with a No. 3 script brush and is 
one of the designs shown in the scroll assortment in this 
article. 

Card No. 2 is a quarter-sheet, 11 x 14 inches, and is 
a hand-drawn illustration, suitable for use for February 
22. An illustration of George Washington can be placed 
in the large circle. The price or any other feature can 
also be therein illustrated. The word "Gloves" is our 
Commercial Thick and Thin, while the two lower lines 
were executed with a No. 2^ Soennecken pen. 

Card No. 3 is a combination of litho-art and granite 
effect. Take a piece of typewriter paper, crumple it up 
in the hands, smooth it and recrumple two or three times. 

Flatten the paper out practically smooth and apply the 
air-brush diagonally across the paper, first with green 
color. All the high spots from this direction will receive 
the color. Then turn the paper in the opposite direction 
and apply another color, as desired, such as yellow or red 
or purple and a most beautiful effect is thereby made. 

A very light litho-art effect is first spread over the 



paper before crumpling. This does not show very dis- 
tinctly in the reproduction. The lettering was executed 
in white with brush and Soennecken pen, a border of rip- 
ple board an inch and a half deep finished the card. 




Fig. 5 

Illustration No. 4 shows a combination of air-brush 
pattern (cut from very thin paper), together with marble 
effect which gives a very rich design. This card is un- 
lettered to give a better idea of the work. 

Illustration No. 5 was a half-sheet, 14 x 22 inches, which 
shows many clever scrolls executed with a No. 3 script 
brush and a No. 8 Red Sable brush. Practical scrolls 
of this character can be utilized for balancing up a card 
as shown in Card No. 1. 

The alphabet that accompanies this article was a quar- 
ter-sheet, 11 x 14 inches, the letter "a" being executed 
between a guide-line \]A, inches in height. The extend- 
ing stroke of the letter "b" is 1% inches in height. The 
J 





J 



Fig. 4 

numerals were executed between a guide-line 2]/% inches 
in height. 



ABGDEFGHU 
KMNOPQRS 
TUUWXVZ& 



Special Alphabet for Captions Used in the Accompanying Cards 

LESSON NOo 30 

HOW TO MAKE THE CARD ARTISTIC BY MECHANICAL MEANS, WITH SOME ILLUSTRATIONS 

IN this lesson we reproduce artistic cards that are work, it is advised to have special brushes and appropri- 

possible of execution even though the showcard writer ate colors for this work. Special pens, also, will be found 

may not be of an artistic turn of mind. These cards to give more grace and a dash to your pen-lettering. A 

illustrate the fact that it is not absolutely essential to study of color combination is also essential to get artistic 

be able to draw or paint freehand, in the sense that is resu i ts . The boards, used in the cards shown, are ivory, 

applied to art work. Mechanical means may be employed deep crea m, and medium tan and black, with correct col- 

that will reflect clever art work in the appearance of the ors of letterill g and air-brush panels. By these methods, 

card and give you the desired artistic effect. most intere sting and effective color combinations are 

In this article we present, with four illustrations, un- produced It is abso i utely essential to have the appro- 

usually artistic effects, as follows: First, suitable and pdate ^^ good colors &nd high . dass showcard board 

artistic illustrations; second, clever and appropriate air- , „. , , ... 

, ., r to produce effects such as the ones we illustrate, 

brushed background panels ; tnird, stencil floral eftects, 

worked in by hand, which have every semblance of free- Every showcard writer has his own hobbies as to 

hand work ;' fourth, a clever combination of black and colors. While some prefer the ready-made colors that 

w hite. are on tne market, others prefer to mix and grind their 

Appropriate Tools and Supplies own. For a satisfactory white, it is recommended to 

To execute artistic lettering and numerals in showcard use English flake white, this to be rubbed with gum 

67 



68 . 



DAILY'S SHOWCARD WRITING SYSTEM 



arabic mucilage and thinned with water. While some 
prefer to mix and grind on a glass slab, others prefer to 
rub the color in a glass tumbler with a round stick. 




ChBRXCS 

We roraot the :*} ' M 
art is! wnen we f 

JBmmm 

ma'cle Trie price. 



pn 



Fig. 1 

Very fine zinc white and flake white, mixed half and 
half, make up a splendid white for pen-lettering, using 
less mucilage, which allows the color to flow free from 
the pen. The older your white color after mixing the 
better it will be found to work, as it improves with age. 

The Accompanying Alphabet 

The alphabet that accompanies this article was exe- 
cuted on a quarter-sheet, 11 x 14 inches. Letters were 
executed between guide-lines 1% inches in height. A 
special brush was used for this execution. Any red sable 
brush that is not too stocky can be used to excellent 
advantage in the execution of this style of lettering:. 




SMART 

D r a i d e a Cutaway 
Suns- are mo last 



word m Siyi 



e. 



Fig. 2 

The end of the brush should always be flattened out, in 
order to execute a good sharp line. The alphabet is 
executed in a build-up style, thin parts being made with 



one stroke, while the heavy parts are made with two or 
three strokes, as the case may require. 

The showcard writer will find this an easy style to 
copy, as any defects can easily be corrected by adding 
to his work, as necessity may require. This style was' 
used throughout the five cards for-.the headings. 

Card No. 1 is a tan card, the word "Fabrics" and the 



WE SALUTE 






lo enclose from. 



e new Son 
Snnn$\ Mais. 



$ 



s 



Fig. 3 

price having been executed in dark brown ; "An artist's 
dream" executed in white, and the balance in pen-letter- 
ing. The stencil flower and border, in white, make this 
a very rich card. 

Card No. 2 is a pebble-finished mat-board. The head- 




4k, 

/A 




AAA 



is enhanced by econ- 
omy m ike advanced 
snowind- of our 



W 



prim 



% 



Suits. 



Fig. 4 

line is executed in light green and has a curved over- 
stroke of dark green with an artistic touch of gold, as 
shown. The illustration is in colors, taken from The 
Haberdasher ; the balance of the lettering with pen in 
black. 

Cards Nos. 3 and 4 are deep cream-colored boards. The 
panels are air-brushed in seasonable colors. In card No. 



DAILY'S SHOWCARD WRITING SYSTEM 



69 



INTONE 

> loim roe /ipto 
Sprw<? Sfi//e 

Goal Si $ .' 




Fig. 5 

3, the headline and price were executed in dark green. 
the balance of lettering in black with pen. In Card No. 4, 
the heading was executed in ultramarine blue, outlined in 
turquoise blue, the balance is pen-lettered in black. 

Card No. 5 is a clever black-and-white combination. 
The illustration is a black and white silhouette effect, 
taken from The Haberdasher. Heading and price were 



Fig. 6 

executed in brush, and the balance of lettering with pen. 
The pen-work that appears on all these five cards was 
executed with a No. 2 Soennecken pen. 

Illustration No. 6 was a half-sheet which is suitable for 
an opening card. After practicing the elementary scroll 
shown in our last article, it is easy to work up a card of 
this character. This may be worked up in gold and pastel 
shades or all black, as illustrated. 



abcdefghijklm 

nopqrstuvwxy 
Arctic Style ^z 

123456789 



Lower Case of Alphabet Used in Lesson No. 33, on Page 75 



ABeffiPGHHK 
VWXYZ&i 



Fancy Initial Alphabet Used in Accompanying Card Captions 



LESSON NO, 31 



HOW TO PRODUCE FLOWERED EFFECTS— USE THE PANTOGRAPH 



IN our last article we demonstrated with suitable ex- 
amples the artistic effects possible in showcard work 
produced by mechanical means which can be executed 
with ease by the average card writer. In this article we 
explain how flowered effects can be produced. 

It is the ambition of most card writers to do work of 
this class. The reason so many make failures of flower 
illustrations is their lack of system or practical method. 
Any card writer can produce flowers on cards by the 
method illustrated herewith. Many suitable subjects can 
be obtained from post-cards and the outline enlarged by 
means of a pantograph or our rubber-band system for 
enlarging, which was described in lesson No. 6. Ordi- 
nary wall-paper designs will also give unlimited patterns 
for this work. 

The Use of Wall-Paper Designs 
Flowered illustrations on a card show up best in con- 
trast on a dark or colored board. In working on a dark 
board, cover the back of your wall-paper design with 
white chalk. Lay the design on the cardboard in the 
position desired and trace the outline over with pencil. 
This will give you a white outline on your dark board. 
Then proceed with original showcard colors, copying the 
70 



design as nearly as possible. You will be surprised at the 
wonderful artistic effects you can obtain. 

By use of an air-brush you can shade in your back- 
grounds or work in the flowers, high-lights, and shadow 
effects which will add wonderfully to your hand-work. 

The Cards Described 

The four cards with this article are all half-sheets. 
Card No. 1 is a smooth, grey finish board. It is a splen- 
did example of a copy of a wall-paper design. In work- 
ing in the stems and flowers do this with a careless free- 
hand movement, which will help to overcome any stiff- 
ness in executing this part of the work. This is a poppy 
design done in tones of pink and red. The stems and 
vines are in green with a touch of purple buds. The first 
two lines of lettering are executed with a No. 2 Soen- 
necken pen. The word "Cravats" lends an artistic touch 
to the card by working in buds over each letter. The out- 
line of the buds is done in water-proof ink, so that it does 
not run into the white lettering. 

Card No. 2 is a light tan, smooth-finish board. The 
design has been enlarged from a post-card illustration. 
This is a large pansy design executed in red and yellow. 
The vines and leaves are in shades of green. 



DAILY'S SHOWCARD WRITING SYSTEM 



71 



The initials of the first line show the use of the alphabet 
that accompanies this article, the balance of the lettering 
being in simple Roman. The pen-work was executed with 
a No. 2y 2 Soennecken pen in italic, which lends a dainty 




Fig. 1 

contrast to the card. The price was done in light green 
outlined in white. 

Card No. 3 is a green-grey mottled-effect board. The 
design on this card is a poppy taken from a wall-paper 
illustration worked in lavender shades with white outline 
and with touches of green leaves and pink buds to add 



Spring SuiTir>fc 



I/fie -Jes/:(f/ie/i\ 
cou/d si of pa fi.en 
mcvn richer if fh 
Ined 



Fig. 2 

tone. The first two lines were executed with the speed 
ball pen in white. The word "Easter" shows the use of 
the alphabet. The word "Parade" is in simple Roman. 
The top and bottom guide-line in white adds wonder- 
fully to the layout. 

Illustration No. 4 is a splendid example of an Easter 
showcard. In Lesson No. 17 we demonstrated the meth- 
od of executing raised lettering with plaster of Paris. 
This same idea can be applied to stencil work. Fine 
examples that could be used for this class of work were 
illustrated in Lesson No. 21. Treating the stencil in this 
manner is unique. In lesson No. 25 the word "Fall" was 
air-brushed by a blown-in method which shows many 
ways in which the use of a stencil can be applied to 
showcard work. The rabbit design is a stock stencil 
which is fastened to the card temporarily with a palette 
knife and a plaster of paris composition. The cut-out 





parts are filled in. Care must be taken that the composi- 
tion is not too thin ; otherwise it will spread under the 
stencil and spoil the effect. The rabbit has been given a 
natural appearance by attaching a black shoe button for 
an eye. 

As previously stated in our Christmas article, Old Eng- 
lish is used to advantage for initials at Christmas and 
Easter time. The initial "E" was worked out in lavender 
outlined in white with gold ornament. The balance of 




Fig. 3 

the word "Easter" was executed in an artistic Roman, 
shaded cleverly with lavender. The remainder of the let- 
tering is executed with Nqs. 2 and 2y 2 Soennecken pens 
in white. It is suggested to work out a card along this 





to 






km 


B8WWI 




<0Z§ 


irfJi^JSff™ 






o-o 

In stylish, seasonable . 
attire for men. young 
men and youths to __< 
make a happy Easter. 




' 



Fig. 4 

line on dark purple board which will give contrast, using 
white rabbit and white lettering. 

The Alphabet 

The alphabet will serve well for fancy initials. This 
was executed on a quarter-sheet, 11 x 14 inches, the 
guide lines being two inches in height. 



ABCDEFGfUJK 

LM N0PQRST U 

V WX Y & Z 



Practical Roman Style Alphabet for Showcards Here Illustrated 



ILLUSTRATING 
WHEN TO USE 



LESSON NOo 31 



TYLE LETTERS BEST 
AND LOWER CASE, OR A 



FOR SHOWCARDS — 

OF THE TWO 



POSSIBLY no question has more often been asked 
by the student and advanced showcard writer than 
"What Is tHe Best Alphabet/to Use?" This is 
rather a broad question, though at first glance it seems 
to be insignificant. r While one showcard writer may 
favor a certain style and, while it would be appropriate for 
a certain class of work or merchandise, it would not meet 
with the approvalof another. Every showcard man has 
his own individual style and nearly every class of mer- 
chandise requires a different treatment. For all kinds of 
showcard work, possibly the Roman style alphabet will 
answer any purpose when specific instructions are lack- 
ing. 

There are so many varieties of the Roman style letter- 
ing that it would be impossible to begin to show them 
all. The alphabet that accompanies this article is pos- 
sibly as practical a style as is known. The work is all 
executed in a single stroke. The brush is held on an 
angle of about 40 degrees to the guide line which gives 
a narrow line to the left and a wide line to the right. In 
72 



the strokes of letter^ A K M N V W X & Y and on all 
curved strokes by holding the brush in this same position 
the thin and thick effects assume their proper position, 
such as in letters C I> G O P Q R S & U. 

Lower Case Easier to Read 
Another question that is often asked is "Wdien Should 
All Capitals Be Used, and When Should All or a Com- 
bination of Capital and Lower Case Be Used?" It has 
been found by scientific test that the average person can 
read in the lower case from twenty to thirty per cent, 
faster than reading all capitals. This is due, possibly, to 
the flexibility of the lower case and also to the fact that 
our education, reading, writing, etc., is done in the lower 
case style. For special emphasis it is suggested to use 
all capital letters, but exception should be taken to any 
Roman style whose letters BDEFPR&T have their 
tops or parts of the "curved portion of the letters con- 
structed of flourishes. This would be confusing if used 
in this manner in all capitals, such flourishes would have 
to be changed to straight lines finished with spurs such 



DAILY'S SHOWCARD WRITING SYSTEM 



73 





Tennis 
Trousers 

3^ 



Fig. 1 




Fg. 3 



Telephone 
Special 



514- 



Fine Shirts 



Reasons C/earcwce 
and */Q-° d/a/ues. 



69 



Fig. 2 





Fig. 4 



74 



DAILY'S SHOWCARD WRITING SYSTEM 



as we show here. The showcard writer will find this a 
rapid and practical style. 

The showcards that accompany this article are rather 
out of the ordinary, always having in mind practical, 



abcdefghijkJmn 
opqrstuvwxyz^ 

1234567890 



Lower Case of Alphabet Used on Accompanying Cards 

clean cut work — four splendid examples in which we 
show splendid variety. 

Card No. 1 is an unusual one. While it is severely 
plain, the general make-up is rather odd. The outside 
white space measures 1% inches wide, the border is 
executed in a grey lavender perfectly outlined in purple. 
The lettering has been executed with a number seven red 
sable brush worked flat using a bronze color. For a high- 
grade display of any character we could not recommend 
a card that would be more appropriate and in better 
taste. 

Card No. 2 shows a simple and effective way of using 
an illustration such as is usually found in periodicals of 
interest to showcard writers. This was a cover of a 
magazine and the lettering was cut away and the rays 
of the sun and the clouds to the right have been executed 
by hand lettering over afterwards. The words "vacation 
needs" were executed between guide lines 1^4 inches in 
height with a number seven red sable rigger. The two 
lower lines were executed with a No. 2)4 Soennecken pen. 
This makes a splendid card for a sporting goods window 



of any class of wearing apparel or sporting goods or a 
combination trim. 

Card No. 3. To show the showcard writer who does 
not posses an artistic temperament we here show what 
can be done by using an ordinary newspaper illustration, 
traced on the card, and afterwards executed with ordi- 
nary showcard colors by hand. The words "telephone 
special" were executed with a No. 8 red sable brush be- 
tween guide lines 1 3^2 and 1*4 inches respectively. The 
numerals "514" and "Fine Shirts" were executed with the 
spoon-pen herewith illustrated. The three lines were exe- 
cuted with a No. 3 Soennecken pen, price with brush. A 
card like this will give the showcard writer and display 
man a splendid idea for inaugurating a telephone sale 
for the dullest day of the week or the dullest week of the 
month. 

Card No. 4 is a grass green soft finish board lettered in 
white, border and ornamentation in light green. "Mon- 
day only" and the numerals were executed with a No. 8 
red sable brush in a style of letter shown in lesson No. 
28. The words "Your Choice" were executed with a No. 




Actual Sizes of Pens 

1 Soennecken pen. This is an out of the ordinary sale card 
which every card writer would do well to follow. 

The showcards shown in this article were all executed 
on quarter sheets 11 x 14 inches. The clever initial 
panels that are reproduced in this article are entirely new 
and will be found suitable for showcards for any line 
of merchandise. Their application was shown in the 
Thanksgiving article and appeared also in lesson No. 9. 




Clever Initial Panels Designed for Showcards 



ABCDEFGH1 
JKLlTinOPQR 

STUVWXTZ. 



Special Caption Alphabet for Showcards Here Described 



LESSON NO* 33 

FANCY INITIALS FOR SHOWCARDS — SOURCES OF INSPIRATION 



THE subject of initials for showcard work is a very 
broad one. In fact, there seems to be no end to 
the artistic variations that are appropriate and can 
be effectively worked up on a window showcard. We 
have presented illustrations of printed initials in previous 
articles, but, at this time, we show what can be done by 
the average showcard writer. Ideas, for this class of 
work, can be found in magazines, trade journals, and 
various similar sources. 

Hand-Lettering and Panel Effects 
The advantage of hand-executed initials and panels 
over printed ones is the fact that they can be worked 
up to any size and any color appropriate for the layout 
and size of card. Artistic effects of this character will 
vary your work, so that the new Spring cards in your 
window will appeal to the customer, because of their 
artistic effectiveness. Another source that will give the 
card writer an almost unlimited amount of ideas for 
initial panels will be found in printing and type catalogs, 
as well as samples of book covers from paper manufac- 
turers. These samples come usually printed in colors, 
which will also be found helpful in your card-writing 
work. The cards in this article are all quarter-sheets, 
11 x 14 inches. 



illustration combined with a fancy initial, outlined in 
gold and blue. The word "Phone" is of an artistic Roman 
style, in brown, executed with a No. 7 Red Sable brush. 
The balance of the card is executed with a Speed Bali pen, 



lour as* noar' to this 
Store ds* your- 



L j 




©ne 

Qj Main ¥250 



Fig. 1 



Explanation of the Cards Illustrated in brown. The corners of the border are squares, artis- 

Card No. 1 shows the simple treatment of a newspaper tically placed, in colors orange and blue. 

75 



76 



DAILY'S SHOWCARD WRITING SYSTEM 



Card No. 2 is a blue-colored board. The background 
of the initial panel is an oval-shape, in white with spots 
of gold. The initial is in dark blue, outlined in orange. 
The word "Fashions" is lettered with the brush, in ac- 




lllOnS 



Inspired by the- 
Worlds are at est 
designers. 'Ready 
f 01 ' your appro v a I . 



Fig. 2 

companying capitals. The lower four lines were exe- 
cuted with a No. 2 Soennecken pen. The display lines on 
Cards 2, 3 and 4 were outlined to harmonize with the 
initial panel, which adds much to the effectiveness of the 
card. 

Card No. 3 is a light buff color, the background of the 




Fig. 3 

initial in brown ; the initial "Q" in crimson metallic, out- 
lined in white. The word "Quality" shows the use of the 
lower case. The two lower lines are worked out with a 
No. 23^ Soennecken pen. 

Card No. 4 is dark green. The initial panel background 



is white with an artistic streak of gold. The initial "A" 
is white, like the background, but with the outline worked 
out in red. The word "Aeroplane" shows the use of the 
lower case of the alphabet. The two lower lines are 
executed with a speed pen ; the price, in brush. 

Cards 1, 2, 3 and 4 were executed on colored board. 

Card No. 5 is a brown-finished mat board. The initial 
has a background of red, striped with green. The initial 
"S" is in white, outlined in gold. The lower panel is in 
green with stripes of gold, the entire panel being relieved 




Fig. 4 

with a white stripe, outlines in gold. The word "Shirts" 
and the price are executed with a No. 8 Red Sable brush ; 
the words "For the New Season," with a small Speed Ball 
pen. 

.The lower case of the alphabet used in this lesson is 
shown on page '69, at the end of Lesson No. 30. 




Fig. 5 



ABGDEFGHIJ 



TWWXYZ& 



Letters of Unusual Character Designed for Initials in Panel Work 



LESSON NO, M 



INTRODUCING A NEW ARTISTIC INITIAL ALPHABET ESPECIALLY DESIGNED 
FOR HIGH CLASS SHOWCARD WORK— COLORS AND HOW TO MIX THEM 



CARD writing of today has so many advantages over 
the work of five or six years ago that the newer 
students little realize the wonderful opportunities 
in the way of tools, colors, cardboards and ornamen- 
tations that they have at hand. Possibly not another 
trade or art in advertising or salesmanship gives such a 
pleasing variety to workmen as does the art of showcard 
writing. His work is almost a daily change, running 
from the simplest style of sale card to the most elaborate 
"silent salesman" that goes into the show case or the 
show window. 

Getting New Ideas from Newspapers 

Many hints have been given in past articles on how to 

obtain a supply of ornamentations of various kinds, and 

as a parting word of advice, always keep in mind that 

artistic simplicity should never be lost track of. It almost 



seems that after the showcard writer has worked day in 
arid day out and runs the gauntlet of ideas that have been 
used, that hardly a new one could, present itself. But if 
the showcard writer will take a little time and skim 
through the Sunday magazines, trade journals, etc., there 
is no question but that new ideas will present themselves 
in an entirely different form for his future work. 

In Lesson No. 29, we introduced and illustrated several 
cards showing the new litho art work. Card No. 1 shows 
a plain grey and white contrasting background. Word 
"now" executed between guide lines 1^ inches in width, 
with a No. 8 Red Sable brush ; following two lines with 
a No. 23^2 Soennecken pen. 

Card No. 2 was executed with the new rustica pen here 
illustrated. This is a splendid pen for both old English, 
script and roman style lettering, the nib of the pen being 

77 



78 



DAILY'S SHOWCARD WRITING SYSTEM 




Perhaps again 
Probably never. 



( aturday 
Only 



L H oo 



ReQ.-fl" 



Fig. 2 





T 




A 



%. 



CA AU? d 



i earn , Jt 



we ToiQot ino arhsT 



when w<? made 
Ino" pr: 



ICG. 



^AT 




Fig. 1 




lance sends us 

iese nek new- 



SILK 

PLAIDS 



Fig. 3 



RomAn 

STRIPES 

me voiue m 

S pr i ncti N eck\ vear , 



Fig. 4 



Fig. 5 



DAILY'S SHOWCARD WRITING SYSTEM 



79 



cut off perfectly square on end. This card was a dark 
green soft finish, lettered in white and ornaments in 
cream, green and orange. 

Card No. 3 shows a plaid effect. The card is placed 
under the litho art appliances and alternate strips applied 
up and down with the air-brush by hand. 

Securing a Plaid Effect 

To secure the plaid effect, place a card over the top of 
the rubber bands, air brush across, and then, successively, 
drop at equal intervals until the whole card is completed. 
First two lines were executed with a No. 2 Soennecken 
pen and the lower two lines with the No. 7 Red Sable 
brush. 

Card No. 4 is something out of the ordinary. The idea 
for this style was taken from the Packard automobile : 
style of type from the Saturday Evening Post. It is 
necessary to lay out the work rather accurately and then 
fill it in with small brush. The pen lettering was all exe- 
cuted with a small Speed Ball pen. 

Card No. 3 shows an alternating stripe and small check 
effect. This is done by turning the card and treating it in 
the opposite directions with the air brush under the litho 
art appliances as previously described in Lesson No. 29. 
The words "roman stripe" were executed with a special 
No. 3. brush in ultra marine blue, outlined in yellow with 
a No. 2 script brush, the lower lines executed with the 
No. 2y 2 Soennecken pen. 

Card No. 6 is something out of the ordinary and a piece 
of work of an unusually high class. A pebbled finish card- 
board is first air brushed from one corner with dark 




Fig. 6 

brown color. The wording is then carefully laid out with 
pencil, with a small No. 7 Red Sable brush, the lettering 
is executed with heavy white showcard ink. Before the 
lettering is dry, each letter is individually flooded until 
the desired height and contour are secured, but special 
caution must be taken that the color is heavy enough in 
flooding to hold its shape. After the lettering is dry, air- 
brush lightly from one corner, which gives a wonderful 
high light and shadow effect. 



How to Draw a Circle 

To draw a circle with a brush, stick a long pin through 
the card into the table or counter, at the point which is to 
be the center of the circle when drawn. Fasten to the pin 
a piece of twine or strong thread. The cardboard should 
be turned on the axis formed by the pin sufficient to cause 
it to move freely. A script brush, which should be thor- 
oughly saturated, but not overloaded, with the paint to 
prevent flooding the lines, should be held according to the 
following instructions : 

With the thumb and index finger hold the brush in an 
almost perpendicular position, first winding the thread 





Actual Sizes of Pens 



around the brush-holder about 1^2 inches from its lower 
end. The cord should be slightly strained and the brush 
should be as far from the pin as half of the diameter of 
the circle to be drawn. With the left hand, turn the card 
toward you, holding the brush with very slight pressure 
on the cards and making as many turns as are required to 
complete the circle. 

The alphabet that accompanies this article, as well as 
the card illustrated, were all executed on quarter sheets 
11 x 14. This alphabet is of an unusual character, and 
especially suggested for initials for panel work. 

Colors and Their Constituents 
Buff — White, yellow ochre, red. 
Chestnut — Red, black, yellow. 
Chocolate — Raw umber, red, black. 
Claret — Red, umber, black. 
Copper — Red, yellow, black. 
Dove — White, vermillion, blue, yellow. 
Drab — White, yellow ochre, red, black. 
Fawn — White, yellow, red. 
Flesh — White, yellow ochre, vermillion. 
Grey — White, black. 

Green Bronze — Chrome green, black, yellow. 
Pea Green — White, chrome green. 
Lemon — White, chrome yellow. 
Olive — Yellow, blue, black, white. 
Orange — Yellow, red. 
Peach — White, vermillion. 
Pearl — White, black, blue. 
Pink — White, vermillion lake. 
Violet — Red, blue, white. 
For Purple — Mix more red and white. 
Rose — White and madder lake. 
Sandstone — White, yellow ochre, black, red. 
Green — Blue, yellow. 



THE HABERDASHER'S COLOR CHART 



Harmonious Combinations of Related Colors 
(Subdued effects) 



Harmonious Combinations of Contrasted Colors 
(Striking effects) 



REDS 



Pink 


Violet 


Maroon 


Pmk 


French Blue 

(Grey Blue ) 


Green orViolet 


, Pure Red, 

(Spectrum Red.) 


Russet 


Orange 


, Pare Red , 

(Spectrum Red) 


Green 


Grey 


Terra-cotta 

* Yellowish Red.) 


Light Yellow 


Chocolate 


Terra- cotta 

( Yellowish- Red) 


French Blue 

( Grey Bl u-e) 


Scarlet 


r Wfne , 

\ Purpl e - redL) 


Pure Blue 


Pare Red 


, Wine x 


Pale Blue 


Yellow 


Maroon 


Orange 


Pure Red 


Maroon 


PureBlue 


Gold 



BLUES 



Pale Blue 


Violet 


Pearl orS late 


Pale Blue 


Crimson 


Tan 


French Blue 

("Grey Blue) 


Wine 


Violet 


French Blue 

l Grey -Blue) 


lerra- cotta 


Scarlet 


, Pure Blue, 

( Spec4ru.m Blu.e) 


Dark Green 


Pale Yellow 


PureBlue 

(Spectrum.- 3^ e ) 


Orange 


Crimson 


Yale Blue 


Green 


, Sage 

(.Cxreyisn Green) 


Yale Blue 


Maroon 


Dark. Grey 


Navy 


Violet 


Dark Red 


Navy 


Yel low 


Crimson 



BROWNS 



Cream 


Tan 


Orange 


Cream 


French Blue 

( Grey Blue) 


Yel low 


Tan 


Terra- cotta 


Crimson 


Tan 


Violet 


Maroon 


Golden Brown 


Russet 


Pure Red 


Golden Brown 


Lie,ht Green 


Scarlet 


.Chocolate v 

( Red-cLi&h-Brown) 


Maroon 


Cream 


Chocolate 

( Reddish-Brown) 


French Blue 

(Grey Si u.e) 


Pure Red 


Dark Brown 


Scarlet 


Orange 


Dark Brown 


, Plum 

( Reddish- Purple) 


Scarlet 



GREYS 



Pearl 

(L/eh+ Grey) 


Violet 


Pure Blue 


Pearl 


Yellow 


Violet 


Army Grey 

(riedium Blue-Grey) 


Greyish Blue 


Violet 


, Army Grey 

(Mediurn BlueGrevj) 


Orange 


Pure Red 


Slate 

(Dark- Blue-Grey.) 


Green 


Sage 

(Greyish Green) 


Slate 

(Dark Blue-Grey) 


Scarlet 


French Blue 

(Grey Blue) 


Drab 

f Brownish Grev) 


Orange 


Pure Red 


Drab 

(Brownish Gray) 


Pure Blue 


Orange 


Dark Grey 


White 


Black 


Dark Grey 


Green 


Crimson 



MISCELLANEOUS 



Yellow 


Green 


Sa&e 


Yellow 


Blue 


Terra- cotta 


Orange 


Russet 


Red 


Orange 


Violet 


Slate 


Light Green 


Amber 


Cream 


Light Green 


Red 


Sage 


Dark Green 


Orange 


French Blue 

(Grey Blue) 


Dark Green 


Orange 


Scarlet 


, Violet 

(Blue Purple) 


Pale Blue 


Pink 


, n violet, x 

( Blue -Purple) 


Amber 


Ligh4 Green 


. Plum 

(Reddish- purple) 


French Blue 


Crimson 


, Plum 
(.Reddish-purple) 


Green 


Gold 



COPYRICHT 



9Y THE HABERDASHER COMPANY 



I NOTE — In all of these combinations the best effect is obtained by making the first color pre 
dominant, the second color less prominent, and the third subordinate to the other two. 



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81 



COLLEGE COLORS 



Adelphi College Brown and Gold 

Alabama Polytechnic Institute Orange and Blue 

Albion College Pink and Green 

Alfred University - Royal Purple and Old Gold 

Amherst College - Purple and White 

Armour Institute of Technology— -Yellow and Black 

Atlanta University Steel Grey and Crimson 

Baker University Burnt Orange 

Baldwin University - Old Gold and Brown 

Barnard College Light Blue and White 

Bates College Garnet 

Baylor University Green and Gold 

Bethany College, Kansas Yellow and Blue 

Boston University Scarlet and White 

Bowdoin College White 

Brigham Young College Crimson 

Brown University Brown and White 

Bryn Mawr College Yellow and White 

Bucknell University Orange and Blue 

Butler College - Blue and White 

Case School of Applied Science Brown and White 

Central University (Kentucky) Cardinal and Blue 

Claflin University Orange and Maroon 

Clemson Agricultural College Purple and Orange 

College City of New York Lavender 

Colorado College Black and Gold 

Columbia University Light Blue and White 

Cornell College (Iowa) Royal Purple and White 

Cornell University Carnelian and White 

Creighton University Blue and White 

Cumberland University Maroon and White 

Dakota University Blue and White 

Dartmouth College Green 

Denison University Denison Red 

Denver University Red and Gold 

De Pauw University Old Gold 

Dickinson College Red and White 

Drake University Blue and White 

Drury College Scarlet and Grey 

Earlham College Yellow and Cream 

Fisk University Blue and Yellow 

Fort Worth University Blue and Gold 

Franklin and Marshall College Blue and White 

Franklin College (Indiana) Navy Blue and Old Gold 

Georgetown University (D. C.) Blue and Grey 

George Washington University Buff and Blue 

Giard College.... Steel and Garnet 

Grant University Gold and Blue 

Grove City College Crimson 

Hampton Institute Blue and White 

Harvard University Crimson 

Heidelberg University Black, Orange and Red 

Hillsdale College Ultramarine (Blue) 

Hiram College Sky Blue and Cherry Red 

Holy Cross College Purple and White 

Howard University Dark Blue and White 

Illinois Wesleyan University Green and White 

Indiana University Crimson and Cream 

Iowa College Scarlet and Black 

Iowa State College - Cardinal and Gold 

Iowa Wesleyan University White and Purple 

Jacob Tome Institute..... Blue and White 

John B. Stetson University Green and White 

Johns Hopkins University Black and Old Gold 

Kansas City University Crimson and Orange 

Kansas Wesleyan University Purple and Old Gold 

Kentucky University Crimson 

Knox College Purple and Old Gold 

Lafayette College (Pennsylvania)-Maroon and White 

Lake Forest University Red and Black 

Lawrence University White and Yale Blue 

Lebanon Valley College Blue and White 

Lehigh University Brown and White 

Leland University Blue 

Leland Stanford, Jr., University Cardinal 

Manhattan College Green and White 

Marietta College Navy Blue and White 

Maryville College Orange and Garnet 

Massachusetts Inst, of Technology-Cardinal Red and Silver Grey 

Mercer University Orange and Black 

Miami University Crimson and White 

Michigan Agricultural College Olive Green 

Mississippi Agric. and Mech. Col Maroon and White 

Morris Brown College Royal Purple and Black 

Mount Holyoke College Light Blue 

Mount Union College Royal Purple 

Nebraska Wesleyan University Yellow and Brown 

Nevada State University Royal Blue and White 

New York University Violet 

Northwestern University (111.) Royal Purple 

Oberlin College Crimson and Gold 

Ohio Northern University Orange and Black 

Ohio State University Scarlet and Grey 



Ohio University Olive Green and White 

Ohio Wesleyan University Red and Black 

Oregon Agricultural College Orange 

Ottawa University Sunflower Yellow 

Otterbein University Cardinal and Tan 

Polytechnic Institute (Brooklyn).... Blue and Grey 

Pratt Institute (Brooklyn) Cadmium Yellow 

Princeton University Orange and Black 

Purdue University Old Gold and Black 

Radcliffe College Red and White 

Rensselaer Polytechnic Institute Cherry and Cream 

Shaw University Garnet and White 



■lmmons 



College .—Blue and Gold 



82 



Simpson College Red and Old Gold 

Smith College White 

Southwest Kansas College.... Royal Purple 

State College of Kentucky Blue and White 

State College of Washington Crimson and Grey 

State University of Iowa Old Gold 

State University of North Dakota... .Pink and Green 

Stevens Institute of Technology Silver Grey and Cardinal 

St. Francis Xavier College Maroon and Blue 

St. John's College (N. Y.) Maroon 

St. Lawrence University Scarlet and Brown 

St. Louis University Blue and White 

St. Olaf College Old Gold 

Syracuse University ...Orange 

Talladega College Cardinal and Blue 

Teachers' College (N. Y. City) Blue and White 

Temple College Cherry and White 

Texas Christian College Royal Purple and White 

Throop Polytechnic Institute Orange and White 

Trinity College (N. C.) ...Navy Blue 

Tufts College Brown and Blue 

Tuskegee Institute Crimson and Old Gold 

University of Alabama Crimson and White 

University of Arkansas Cardinal 

University of California Blue and Gold 

University of Chicago Maroon 

University of Cincinnati Red and Black 

University of Colorado Silver and Gold 

University of Dayton Red and Blue 

University of Denver Crimson and Gold 

University of Georgia Red and Black 

University of Idaho Silver and Gold 

University of Illinois Orange and Blue 

University of Kansas Crimson and Blue 

University of Maine Light Blue 

University of Michigan Maize and Blue 

University of Minnesota Old Gold and Maroon 

University of Missouri Black and Old Gold 

University of Montana Copper, Gold and Silver 

University of Nashville Garnet and Blue 

University of Nebraska Scarlet and Cream 

University of North Carolina White and Blue 

University of Notre Dame Old Gold and Marine Blue 

University of Oregon : Oregon Grape, Green, Yellow 

University of Pennsylvania Red and Blue 

University of Rochester Yellow 

University of South Dakota Vermilion 

University of Southern California-Cardinal and Gold 

University of the South Purple and Gold 

University of Tennessee Orange and White 

University of Texas White and Gold 

University of Utah . Crimson and Silver 

University of Vermont ...Green and Gold 

University of Virginia Orange and Dark Blue 

University of Washington Purple and Gold 

University of Wisconsin Cardinal 

University of Wooster Black and Old Gold 

United States Military Academy Black, Gold and Grey 

United States Naval Academy Blue and Gold 

Upper Iowa University Peacock Blue 

Utah Agricultural College White and Blue 

Vanderbilt University Black and Gold 

Vassar College Pose and Grey 

Virginia Polytechnic Institute Orange and Maroon 

Walden University Black and Red 

Washburn College Electric Blue 

Washington and Jefferson College..Red and Black 

Washington and Lee University Blue and White 

Washington University (Mo.) Myrtle and Maroonn 

Wellesley College Deep Blue 

Wesleyan University Cardinal and Black 

Western Reserve University Crimson and White 

Western Univ. of Pennsylvania Old Gold and Navy Blue 

West Virginia University Old Gold and Blue 

Wiley University Royal Purple and White 

Willamette University Cardinal and Old Gold 

Williams College Royal Purple 

Woman's College of Baltimore Dark Blue and Old Gold 

Worcester Polytechnic Institute Crimson and Steel Grey 

Yale University Blue 



5 


Black, grey 
or black- 
and-white; 
also green 
with grey or 
black -and- 
white suit 


Black, brown, 
fawn or 
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When straw hat is worn, the band may show the color of cravat. '. 
White cravat and waistcoat may he worn by any type. 


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83 



CORRECT DECORATIVE CHART of CONTRASTED COLORS. 


HARDWOOD 
FLOOR, RUGS, 

CARFETarMATTlNIk 


BASEBOARD, 
D00US,SHELVES 
AND MOLDING. 


WAINSCOTING 


FURNITURE, 

COUNTERSfcSMW 

CASE WOODWORK 


WALL 


CURTAINS 


BORDER 


CORNICE 


CEILING 


Brown or 
Ecru 


Mahogany 


Green 


Mahogany 


Red 


Red 


Pale Green 


Pale Pink 


White 

or Palest 

Green. 


Dark Brown 


Oak 


Blue 


Dark Oak 


Orange 


Orange 


Blue 


Pale Orange 


White 

or Palest 

Blue. 


Light Oak 


White or 
Light Oak. 


Violet 


Gray or 
Yellow. 


Yellow 


Yellow 


Violet 


Pale 
Yellow 


White 
or Palest 
Violet. 


Dark Olive 


Mission 
Shades 


Red, e.g. 
Mahogany 
orDarkCherry 


G reenish 
Gray 


Green 


Green 


Grayish 
Red 


Pale 
Green 


White 
or Palest 
Pink. 


Drab, Slate, 

Gray or 

Dark 

Brown. 


Mission 
Brown 


Orange, 

for example 

Some Oak 

stains. 


Mission 
Brown 


Blue 


Blue 


Grayish 
Orange 


Pale 
Blue 


White 
or Palest 
Orange. 


Dark 
Plum 


Violet 
Colored, 

such as 
Tulip Wood. 


Yellow 

or Li^ht 

Oak. 


Violet 
Colored 


Violet 


Violet 


Yellow 


Pale 
Violet 


White 
or Palest 
Yellow. 







CORRECT DECORATIVE CHART of ANALOGOUS or RELATED COLORS 


HARDWOOD 
FLOOR, RUGS, 
aRFETwKMW 


BASEBOARD. 
DOORt,SHEiyn 
AMD MOLDING. 


WAINSCOTING 


FURNITURE, 

counters asm 

CASEW0MW0R& 


WALL 


CURTAINS 


BORDER 


CORNICE 


CEILING 


Red. 

For example, 
dark Mahogany 

stained hirdwood 


Mahogany 


Yellow . 


Mahogany 


Orange 


Orange 


Yellow 


Palest 
Orange 


White. 

Pale Yellow 

or Gray. 


Violet 


Violet 
Colored.such 
asTulipWood. 


Orange 


Violet 

Colored, 

such as 

TulipWood. 


Russet 


Russet 


Orange 


Palest 
Russet 


White, 

Gray 

or Palest 

Orange. 


Blue 


Bluish 
Colored 


Red 


Bluish 
Colored 


Violet 


Violet 


Red 


Palest 
Violet 


Pale ' 

Pink, 

White 

or Gray. 


Green, 

such as Olive 
stained hard- 
wood flooring 


Green 


Violet 


Green 


Slate 


Slate 


Violet 


Palest 
Slate 


Palest 
Violet, 
White 
or Gray. 


Yellow. 
Some shade 
of Oak,for 

example. 


Yellow or 
White Oak 


Bluish 
Colored 


Yellow 

or White 

Oak 


Green 


Green 


Blue 


Palest 
Green 


Palest 

Blue, 

White 

or Gray. 


Orange. 
For example, 

a d«ep 
Brown Oak 
•talned hard- 
wood floor. 


Orange 

Colored, 

such as 

Oak. 


Green 


Orange 

Colored, 

such as 

Oak. 


Citrine 


Citrine 


Green 


Palest 
Citrine 


Palest 

Green, 

White 

or Gray. 












,Co 


pyriSht, J910^ 


by Tie- Ha banc 


lasheji_IIaBipanj 



84- 



1 



1 



m 



Wk 



P 





2 OUNCE JARS 

8 OUNCE JARS 

16 OUNCE JARS 

32 OUNCE JARS 



DULL FINISH 

OPAQUE COLORS 

BRIGHT SHADE 

READY FOR USE 

THIN WITH WATER 



This name is the abbreviation for 

SHOW CARD COLORS 

They were the first on the market to meet 
the demand of the Profession and the Veter- 
ans are maintaining their prestige by using 
them to-day. Continual supervision cf ma- 
terials by our laboratory; packing them in 
easy-to-use containers; distributing them so 
that they can be had practically all over the 
world is the service you buy with each jar, 
yet their cost is the same as all the others 
which have entered the field. But, you buy 
something of greater value — clarity of tone 
which gives snap to your work and coloring 
strength which makes their use an economy. 



There are also ^'^ssiis a j r brush Colors to be used for the 
effects described in Lessons 25 and 29. If you have a good air 
brush use only these colors and you will avoid clogging up and 
repairs. The best is always the most economical. 



For the show card colors you will find no brush as suitable as B/sse//s 
Brushes for they were designed for show card writing and their workman- 
ship and quality are the best. 



NEW YORK 



DEALERS IN EVERY CITY CAN SUPPLY YOUR WANTS 
SOLE DISTRIBUTORS 

FAVOR, RUHL & COMPANY 



CHICAGO 



II 



i 









I 



I 






m 






85 



IDEAS, SUGGESTIONS 
INFORMATION 

These are what one needs to make good in the display 
and lettering profession. That is why thousands of 

SjHOW CARD WRITERS, DISPLAY MEN 
DECORATORS & SIGN MEN 

READ 

Seines 

The National Journal of DisplayAjvertising* 

THEY NEED IT 

It tells them what they want to know, when they want 
to know it. 

SIGNS OF THE TIMES bristles with news, ideas, sug- 
gestions and methods of display used by leaders in the field 
of display advertising. Its authoritative articles and illustra- 
tions will prove of valuable assistance to you. 

We have live departments devoted to window display, 
store fronts, decorations, booths and parade features, show 
cards, poster work, signs and lettering and designs for pub- 
licity purposes. 

Subscribe for SIGNS OF THE TIMES: read it every 
month, and you too will become one of its regular subscribers. 

$3.00 a year — Published Monthly— 30 cents per copy 

THE SIGNS OF THE TIMES PUBLISHING COMPANY 

30 Opera Place Cincinnati, Ohio. 

Publishers also of the well-known Gordon Books on Lettering and Card Writing, and other 
books for the display man, merchant and card writer. 



86 




THE VALUE OF A SIGN OR SHOW CARD 

IS MEASURED 

BY "ITS PULLING POWER" 



: ■ - : . - 



Whatever You Expect to do 
with an Air Brush, the Paas- 
che will Do it Better for You. 
These illustrations show the 
value of attractive display 
matter as well as give you an 
idea of the unlimited possi- 
bilities of what the Paasche 
will do for you. 
The Paasche "pays its own 
way" in every show card and 
sign shop. 




Put the Real Punch or Kick 
in Every Piece of Display 
Matter You Turn Out. 

The versatility of Paasche 
Air Brushes, combined with 
speed, durability, efficiency, 
make them the most sought 
for and most widely known 
tools. 

The Paasche is easily cleaned 
and stays in working order 
longer and better than any 
other air brush. 



What The Public Appreciates In Artistic Display Matter 

The "Boss" is Willing to Pay Well For 



Advertise 
^ Right 



For the Simplest Price Ticket to an 

Elaborate 

Card. 

The Paasche 

serves the 

purpose 

much better 

than any other 

brush — and 

DOES 

BETTER 

WORK. 




Attractiv 
able sign 
done with 




PAASCHE 

MODEL "D" 

3-in-l AIR BRUSH 

IS 

KING OF THEM 

ALL 




Model "U" at work. 
Bottle for Large Work. Cup for Small 
Both come with Outfit. 



Work. 



PAASCHE FAMOUS 3-in-l AIR BRUSHES are Made in all Sizes 

CANNOT BE EQUALED FOR 

SIGNS SHOW CARDS WINDOW BACKGROUNDS 

OUR LARGER AIR BRUSHES ARE USED FOR REFINISHING FIXTURES 

MAKES THE OLD FIXTURES LOOK LIKE NEW 

Write for Our Catalog Today 




Manufactures' Largest and Most Complete Line of Air Brushes and Accesories 



1290 WASHINGTON BOUL'D 



CHICAGO, ILL. 



87 



h 



«»■ 






I want t i send 
a copy of my new supply 
catalog to every sign-painter and 
show-card writer in America. 10,000 copies 
are ready to be mailed. They are free. Postal request 
is all that is necessary. I pride myself on being the oldest 
and largest dealer catering exclusively to the man who makes his 
living with the lettering pencil, and in my supply catalog you will 
find a most complete line of modern tools and materials. My goods are not the kind you have been 
getting — not the store variety, not the selected at random sort or branded by a misleading trade name. My 
goods are my own design and made to my order exclusively. I have made the brush question a life study, and 
challenge comparison of my 

BLUE HANDLE BRAND 
BRUSHES and SUPPLIES 

"THE PIONEER LINE" 

I have long realized the necessity for good brushes and other materials used by the letterer. Pastmasters of the craft will tell 
you that the Detroit School of Lettering has blazed the way for most of the time-saving devices and modern equipment on the 
market today. The average paint or brush dealer is in business only to sell you merchandise. The D. S. of L. is where the needs 
of the sign-writer are appreciated. In no profession is quality more important than in the sign-showcard business. The Blue 
Handle Brand line has been brought to the apex of perfection by a man of 25 years' experience as a sign-writer. 

Don't pay war prices any longer. Write for Strong's new catalogue today and benefit by the generous reductions. Others 
save money by ordering from Strong's catalogue. Can you afford to trade elsewhere? We certainly invite your business, and 
will serve you well to keep it. 

FOUND IN STRONG'S CATALOGUE FIRST 

New Razkut Ripper. Will it cut? Oh, Boy! Reduced prices on Sign Cloth, Oil Cloth and Auto Monograms. 

The Rendlog Pounce Wheel. Three sizes. Cardboard. New Sign Kits. 

Nobema Poster colors. "GOLD WINNER" one stroke brush. And many other items too num- 

Gold Nuggets. Prang's Vermillion. erous to mention. 

All of my goods are guaranteed to give satisfaction, or money refunded. 

TWENTY-TWO YEARS OF SERVICE 




(Est. 1899) 



C. J. Strong, Founder. 



L. S. Strong, President 



SUPPLY DEPARTMENT 



JJ et roit Scho ol jof 



.OFFICES 11 SALESROOMS 





ing 



"Largest Dealers in the World Catering to the Sign and Show Card Writer Exclusively" 

■—■■—,.■■■ .1.. . i i n — »— i — , 



88 



SPEEDS/ILL LETTERING PENT, 



STYLE-A 
SQUARE 

POINTS 

5-SIZES 




Xettercraft. 



STYLEB1 

ROUND 

POINTS 

5 



Width of Strokes 
i 

The Speedball is the fastest and most 
easily operated broad-stroke pen m the 
world. It produces a strobe of uniform 
width throughout when drawn in any 
direction.- Up-strokes. Down- strokes 
or Laterals. Square terminals with, 
'Style A" and Round terminals with 
'Style B" The ink flow is under ~ 
automatic control by double reser- 
voir fountain and tip- retainer over 
the extreme point oi bent up section 
which forms the marking point — 
This is an exclusive patent feature 
of the Speedball and prevents any 
excess flood of ink or color on the 
strokes, which is most liable to 
occur in broad-stroke pens of a like 
character, minus this most import- 
ant auxiliary. It is unnecessary to 
use a dropper, quill or stick to fill 
the reservoir. Simply dip in the ink, 
like an ordinary pen They will work 
in any India Ink or opaque water color 
properly diluted to flowing" consist- 
ency - The small sites retain enough 
ink to make an entire alphabet--- 

HUNTS LETTERING PENS No. 400 





C. HOWARD HUNT PEN COMPANY, CAMDEN, N. J. 



89 



(Freehand) 

LETTERING 
PENS 




fteseruoir 



THE most practical 
tool for Showcard 
Lettering is the 
Payzant Pen, discussed 
at length in the body of 
this book. 

The lines are absolutely 
uniform in width, no 
matter in what direct- 
ion the stroke is made. 
The display lettering at 
the right was made 
with three sizes of the 
Payzant Pens, which 
come in all sizes neces- 
sary for Card Work. 

The Payzant Pens are 
easy to use — they are 
handled like an ordin- 
ary pen, and consequ- 
ently little or no prac- 
tice is necessary for 
good results. 

They are economical — they will last a life time, and with these 
pens better work can be done more quickly than by any other 
known method of card lettering. 

Leading Showcard Writers, throughout the country, are enthusi- 
astic over these pens, which are sold by all the best dealers in Card 
Writing supplies or can be obtained direct from us. 

Write us for full information 

cRcmid riming 



Made in eleven 
sizes, giving stroke 
from .012 in. to .'200 
in. wide as illustra- 
ted here. 



him 



No. 000. 



ROUND Writing Pens have been favor- 
ably known for many years to drafts- 
men and "lettering" craftsmen. In this 
book they are called Soennecken Pens, af- 
ter the manufacturer and originator of the 
Round Writing system of ornamental 
lettering. 



Made in over twenty styles 

and sizes, single and 

double-pointed. 



T> EAl'TY and legibility are the chief 
° characteristics of the lettering done 
with these pens. Their use can be readi- 
ly acquired. We publish a "Methodical 
Textbook to Round Writing" with which 
we furnish a sample assortment of pens. 



IDrazving Material 
Measuring Tapes 



KEUFFEL & ESSER CO. 

NEW FORK, 121 Fulton St. General Office and Factories, HOBOKEN, N .J. 

CHICAGO ST. LOUIS SAN FRANCISCO MONTREAL 

516-20 S. Dearborn St. 817 Locust St. 30-34 Second St. 5 Notre Dame St. W. 



Mathematical and 
Surveying 

Instruments 



90 




Waist Form 



THE ONL1-WA IS THE BEST WAY 

Window Display Fixtures 

Of the Highest Quality 
Workmanship and finish 

OUR SERVICE TO MERCHANTS IS OUR BIGGEST ASSET 




Wm, and Mary 
Triple Shoe Stand 



Windoxv* Display Fixtures in Period Designs of Wm. & Mary, 

Adam, Waskingtonian and Colonial. Valance and Plush. 

Custom, Waist and Clothing Forms. 



LET US SERVE YOU NOW 




Adam Shoe Stand 





Colonial Shirt Stand 



Toilet Goods and Small Goods Unit 



SEND FOR OVR LATEST CATALOG H 

THE ONLI-WA FIXTURE COMPANY 

DAYTON, OHIO 

Originators & Manufacturers of our own Fixtures 

Factor? 115-17-19 hJ. Kenton St. Office & Salesroom 401 Beckel Bldg. 




SEND 

FOR 

OUR 

CATALOG 



Wm. and Mary Plateau 



1 



SEND 

FOB 

OUR 

CATALOG 




Adam Period Table 



Colonial Collar Stand 



91 




t 



Just A Minute — 

You Card Writers, Poster 
Artists and Display Men 

Nat-Mat 

has a message for you. 



DO YOU know that many of 
the business pulling designs 
shown in this book were 
actually made right on the very product that we manufacture for the 
identical needs of you Card Writers, Poster Artists and Display Men. 
That you can secure direct from our factory at mill prices, over 100 
delicate blends and snappy color effects in numerous finishes, sizes 
and thicknesses of Mat, Mounting, Backing and Show Card Boards. 



Send us your business 
letter-head and get this 
big sample booklet free. 




Booklet of "NAT MAT" Products 



*—— We cut special frames or designs and make up price tickets 
with plain and Gold-Bronze edges - all ready for instant lettering. 
Send us your Specifications. 



NATIONAL CARD, MAT & BOARD CO. 



;cut:s 

FRAMES," 




Sole-Makers of NAT-MAT 

216-218 W. Superior St. CHICAGO, U. S. A. 

Cable Address: "Natcardco" Chicago. 
Sole Makers of 

NAT-MAT 



NAT-MAT offers you a color for every occasion 

Be sura to mention "I saw your ad in the Haberdasher" 



92 




Window-Trimmin 




You 




LEARN MORE ~ EARN MORE 

Efficiency in any line of work is what counts. This is especially true in doing advertising, 
and window display work. The more efficient you are in this work the more valuable you are and 
the more will you find in your pay envelope. 

The quicker you learn more about your work the quicker you will increase the size of your 
salary. The man who puts off from day to day, and year to year, his opportunity of learning 
quickly all the intricacies of his calling, soon is outdistanced by all the more ambitious young 
men who take advantage of thorough training given at the Koester School. 

Procrastination in this matter is keeping money out of your pay envelope every week. 




In the hundreds of inquiries that we get each year from merchants asking for young men to 
fill positions they invariably specifically demand that they want a man with a thorough knowl- 
edge and training in all branches of the work. 

This means that you must have Koester Training in order to serve your employer satisfac- 
torily and in order to get most remuneration for yourself. 

The Koester School recently has had so many requests for men that it has been utterly im- 
possible to fill all the positions. Invariably every inquiry calls for a Koester trained man. Mer- 
chants everywhere recognize the value of Koester training. 




All Our Studies Are Explained 
In Our Big Year Book 

This book should be in the hands of every 
clerk and merchant — it outlines the way to the 
greatest possible success for you in your future 
work. It shows the work of many of the thou- 
sands of successful Koester men. It shows you 
how yoii-can study at home and pay in easy 
monthly payments, or how you can attend the 
school and devote all your time to study under 
close, personal supervision of the best instructors 
in the world. "Window Trimming" is the only 
study we do not teach by mail. 



SEND YEAR BOOK TO 

Name 

Street 

City 

State .: 



The KOESTER SCHOOL 3U s Franklin Street CH,CAGO 



The Windozv Display Center of the World 



93"'- 



A WARM TREAT 

FOR COLD FEET 

MERINO HOSIERY, $ — THE PAIR 



SURE TO WIN 

IN THE LONG STRETCH 

ADJUSTABLE SUSPENDERS, $ — 



WON BY A HEAD 
THESE AUTUMN DERBIES, $— 



SOFT AS VELVET 
DOESKIN GLOVES, $ — 



ABREAST OF FASHION 
THESE WAISTCOATS, $ — 



HELLO, OLD TOP — 

YOU NEED A TOP COAT 

THESE ARE $ — 

INSTEAD OF CHILLS, PILLS 

AND DOCTOR'S BILLS 

WE PRESCRIBE WARMER UNDERWEAR 

FEE $ — THE SUIT 



AFTER "TUB" AND "RUB" 
BASK IN A BATHROBE, $ — 



STILL PLAYING TOGETHER — 
HOSE, TIE AND 'KERCHIEF — 
IN VARIETY OF REPERTOIRE 



A STRIKE! 
THESE BOWLING SHOES, $— 

SELECT SCARFS 
FOR FASHIONABLE FELLOWS, 50c 

"HOW DRY I AM" 
THESE RAINCOATS SING 
TO EVERY MAN WITH $ — 

RARE TOPCOATS 
FOR RAW EVENINGS, $— 

SEND "HIM" A NIGHT-LETTER 

IN TWO WORDS: 
"FLANNELETTE PAJAMAS," §— 

ALL MEMBERS 

OF THE FIRESIDE CLUB 

THESE LOUNGE JACKETS, $— 

TRIED AND TRUE 

BALBRIGGANS 

KNIT TO FIT YOU, $ — 

WHEN THE HEAVENS "WEEP" 

YOU'LL SMILE 

IN A RAINPROOF, $ — 

ORDERED BACK TO DUTY 

HIGH SHOES 

BLACK OR TAN, $ — 

WING COLLARS 

SWING INTO FAVOR 

THESE ARE 25c 



JACK FROST'S IN TOWN 

GREET HIM WARMLY 

IN A NEW AUTUMN COAT, ?— 

THESE MUFFLE THE BREEZE 

SILK-KNIT OR FANCY WOOL 

REEFERS, $ — 

USE WHEN YOU SNOOZE 
MEDIUM- WEIGHT PAJAMAS, $ — 

GOING HUNTING? 

FLANNEL SHIRTS AND CORDUROY 

TROUSERS 

DANCE IN THESE 

AND FEEL AT EASE — 

PUMPS FOR EVERY FOOT AND FANCY 



MADE TO MEASURE 

YOURS TO TREASURE 

AUTUMN SUITS, ¥ — 



GLOVES FOR GENTLEMEN 

SILK, MOCHA, SUEDE OR CHAMOIS 

HANDSOME STYLES 



CORRECT IN CLUBDOM 
THESE CLOTHES 



SOFT AS SATIN 

FLEECE-LINED UNDERWEAR 

$ — THE GARMENT 



ULSTERS FOR AUTOISTS 
FALL MODELS, $— 



94 





r : 1 

W1MBOW- 


■ — N 

CARD HIMTS 




GOT YOUR TICKET 


WALK IN THESE 




TO DREAMLAND? 


AND FEEL AT EASE 




TRY SOISETTE PAJAMAS, ¥ — 


RUBBER-SOLED SHOES, $ — 




YOU'RE LATE, BUT U'CKY 


A SOMMERSAULT 




THE BOAT "SALES" TODAY- 


IN SIMMER PRICES! 




TAKE ABOARD A BARGAIN! 






WHEN YOU SKIP FOR A DIP 


YOU'LL SING THEIR PRAISE 




TAKE A SUIT FROM HERE, $— 


THE LIVE LONG DAYS 
MOHAIR SUITS, $— 




SEEN MUCH TOGETHER- 






NORFOLK AND KNICKERS, $— 


WASHABLE TWINS- 
TUB TIES AND "WHITE DUCK" TROUSERS 




FOR THAT "FISHING FEELING"— 






BROWN FISHING COATS, $— 

• 


BLUE AND WHITE 
ALWAYS RIGHT 




KEEP OUT THE DUST 


FOR THE SUMMER NIGHT 




LET IN THE BREEZE 






AUTO "DUSTERS," S— 


FOR JOLLY JAUNTS 




FASHION'S SUMMER PREMIUM— 
PINCH-BACK SUITS, §— 


IN RUSTIC HAUNTS 
THESE SPORT SHIRTS, $ — 




BARGAIN DAY 


PRICES WITHER WITH THE HEAT 




MAKES IT PAY 


SPRUCE UP IN THESE FLANNELS, $— 




TO BUY HERE 






PRICES FLIRT AVITH PROFITS 
SMILE ON THESE SHIRTS, $— 


GOOD SUPPORT 

FOR "CUFFED" TROUSERS 

SUEDE BELTS, 5 — 




EFFICIENT CLOTHING 






FOR ECONOMICAL MEN 


HOT AS BLAZES 
NEVER FAZES 




NECK-AND-NECK 


THESE "WHITE DUCKS" 




IN THE RACE FOR COMFORT 






SOFT FOLD COLLARS, 25c 


DON'T BE YELLOW 




FAIR AND WARMER! 
PRICES ARE FAIR TOO 


BUY A WHITE ONE 
ALL STRAWS NOW $— 




ON ALL TROPICAL CLOTHING 


FOR THAT TRIP 




"UNIONIZED" UNDERWEAR 


TAKE A TIP 




CAPITALIZES COMFORT 


ON THESE VACATION TOGS 




TOTAL COST, $— 






WE'VE BURNED OUR BRIDGES BEHIND US 
PRICES CAN'T RETREAT FURTHER! 


PRETTY SOFT! 

THESE FOLD COLLARS 

3 TO YOU AT $1.00 




SONNETS IN SENNIT STRAWS 






SMART STYLES 


IT'S A BEAUT 




MID-SUMMER PRICES 

< . . 


THIS SUIT AT *— 
. ', 



95 



Drake Books For Painters 




The Art of Sign Painting 
By F. H. Atkinson 
Large Quarto, 356 Pages, 
Illustrated. 

Cloth with Cover Design 
Stamped in Five Colors. 
Price $4.00 




By F. H. and G. W. Atkinson 
A Show at Sho' Cards 

Size 9x12, 300 Pages, 120 De- 
signs, 35 Alphabets. 

Cloth with Cover Design Stamp- 
ed in Three Colors. Price $4.00 





[^TOSIGNISTS MODERN"® 
BOOK OF LS 

|gffi* ALPHABETS ggf 

PUln Ornament*! Ancient *>--• MedJ»ev»l 

fi y frZn 

F. DELAMOTTE ■gSfe) 



Scene Painting and Bulletin 
Art 

Size 9x12, 256 Pages, Fully 
Illustrated. 

Cloth with Cover Design 
Stamped in Five Colors. 
Price $4.00 



Strong's Book of Designs 

By Chas. J. and L. S. 

Strong 

(Revised Edition) 

Large Quarto, 8x1 1 

inches, 200 Pages, Over 

300 Designs. 

Leatherette, Gold Stamp- 
ing. 
Price $4.00 



The Signist's Modern 
Book of Alphabets 

By F. Delamotte 

Large Octavo, 200 
Pages, 100 Designs. 

Cloth, stamped in Ink 
and Foil. 
Price $1.50 



MODERN 
f PAINTERS i 
CYCLOPEDIA 





Modern Painter's 
Cyclopedia 
By F. Maire 
12mo, 464 Pages, 106 Il- 
lustrations and 8 Plates. 
Cloth, Stamped in Two 
Colors. Price $2.00 






New Stencils and Their Use 

By F. N. Vanderwalker 
12mo, 148 Pages, Illustrated. 
Cloth, Ink Stamping. 
Price $1.25 



Automobile Painting 

By F. N. Vnderwalker 

12mo, 200 Pages, Illustrated. 

Cloth, Ink Stamping. 

Price $1.50 



New Hardwood Finishing, 
Including Wood Manipulation, 
Staining and Polishing 
By Fred T. Hodgson 
12mo, 320 Pages, 117 Illustra- 
tions. 

Cloth, Ink Stamping. 
Price $1.50 



Estimates, Costs and Profits — 

House Painting and Interior 

Decorating 

By F. N. Vanderwalker 

12mo, 133 Pages, 14 Illustrations. 

Cloth, Ink Stamping.. -.., 

Price $1.50 




OUR GUARANTEE. — Order these books direct from this page. Keep them five days; and if not perfectly 
satisfactory, return them and your money will be refunded by return mail. (Mention this ad.) We prepay postage. 



1006 So. Michigan Ave 



Frederick J. Drake <& Company 



Chicago, 111. 



96 



Are They Talking Behind Your Back? 

Ask Yourself This Question? 

Are the buying public stopping, looking at and admiring my 
windows made tasty by attractive backgrounds, neat snow cards, etc,, 
tbereby helping me sell my merchandise — IF NOT — then come to 
a realization that your windows can be the most talked of in town. 

PAINTINGS, SETTINGS AND SHOW 
CARDS WILL DO IT! 





Special Settings 
and Back- 
grounds for all 
\Vrndows and 
all Seasons 



SCENIC PANEL 

No. 208 



Poster and scenic panels in wonderful soft 
colorings, pastel effects, tapestry -work on 
grass cloth, oil or water color, imitation of 
batique work on silk, etc. Plaques and 
complete backgrounds built for your indi- 
vidual needs. 



HAND PAINTED 
POSTER CARDS 



What is d 



£'An: 



yway 




Well, we wUl tell you--"PAS- 
CENO" is tne last word in deco- 
ration. A Special Process 

of applying pastel crayons to any 
surface and producing wonderful 
pastel and poster effects in oil, 
water color or dye and yet the 
finished work requires no fixitive 
or preparation to make it service'* 
able and l lasting. 




STYLE No. 5 
READY TO LETTER 

AIR BRUSHED CARDS 

and STENCILS 



Write NOW for Full Details 



D Autremont Studios, 

Successors to BERT L. DAILY STUDIOS 
204 Rank Building, -:- DAYTON. OHIO 

There are other things that we can do. We have a complete equipped 
FALL show card studio and can take care of your show card and price tick- 

No. 218 ets just as promptly and reasonable as if we ■were right next door 



SEP 35 1921 



LIBRARY OF CONGRESS 



013 963 881 5 ft 



Show Gard 
Colors 



Used in making Artistic Cards, 
Signs, Posters, Price Tickets &c. 




The better the 
writer — the better 
the colors he uses 

■yj RTISTS have an actual contempt for in- 
C^i. ferior colors. They feel instinctively that 
if their skill is to be given free reign; if they are 
to get from their work the joy of doing a good 
job — the material which they use must be of 
the very best. 

We believe it is this fact that accounts for the 
popularity of Devoe Showcard Colors with lead- 
ing showcard writers everywhere. 

The master artists know that these colors are 
time-tested and proven — backed by 166 years of 
experience of the oldest paint-manufacturing 
concern in the United States. 

They know that in consistency, in covering 
and flowing qualities, in brilliancy and variety 
of colors, in convenience of use, Devoe Show- 
card Colors have obtained the highest point of 
development. 



ACTUAL SIZE OF 2 OZ. JAR 



Manufactured by 

Devoe & Raynolds Co., Inc. 

New York Chicago 




